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TALBOT  HOUSE 


THE  TALBOT  J.  TAYLOR 
COLLECTION 


FURNITURE,  WOOD-CARVING,  AND 
OTHER  BRANCHES 


THE  DECORATIVE  ARTS 

9 

WITH  ONE  HUNDRED  AND  EIGHTY-SEVEN  ILLUSTRATIONS 


G.  P.  PUTNAM’S  SONS 


NEW  YORK  LONDON 

Zbc  IknicRcrbocLcr  prcse 

1 906 


To 


THE  J.  PAUL  GCHY  MUSEUM  LIBRARY 


COPYRIGHT,  1906 
BY 

TALBOT  ).  TAYLOR 


miustrations 


PAGE 


Talbot  House Frontispiece 

The  entrance . . . . 

Flemish  chair.  Seventeenth  century,  walnut  ....... 

Flemish  chairs.  Seventeenth  century,  walnut  

The  hall 

Folding-chair,  Flemish.  Seventeenth  century,  walnut  ..... 

The  drawing-room . 

Stalls,  oak.  Seventeenth  century 

Flemish  chairs.  Seventeenth  century,  walnut . 

Carved  oak  bed  from  Brittany.  Adapted  for  divan 

Old  alcove  bed,  carved  oak.  Adapted  for  open  cabinet  ..... 
Carved  and  gilded  seat,  covered  in  Beauvais  tapestry  representing  a scene  from 

the  fables  of  La  Fontaine.  Period  of  Louis  XV. 

Carved  and  gilded  seat,  covered  in  Beauvais  tapestry  representing  a scene  from 

the  fables  of  La  Fontaine.  Period  of  Louis  XV 

Carved  and  gilded  screen,  with  panels  in  Beauvais  tapestry  representing  Boucher 

subjects.  Period  of  Louis  X\L  

Carved  and  gilded  console.  Period  of  Louis  XV 

Commode  in  marqueterie.  Period  of  Louis  XV. 

Chaise  a porteiirs.  Feriiis  Martin.  Front  view 

Back  view  of  chaise  a portenrs.  / 'crnis  Martin 

Carved  wood  figure  representing  Saint  Anne.  Cothic  period  .... 

Carved  wood  pieta.  Gothic  period 

Carved  wood  pieta.  Gothic  period 

Beaker  made  in  Nuremburg.  Seventeenth  century 

Church  vessel.  French,  seventeenth  century 

Silver  vase.  Alsatian  workmanship.  Seventeenth  century  .... 


4 

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6 

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10 

12 


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Hllu6tration0 


PAGE 


i\' 

Silver  vase.  Alsatian  workmanship.  Seventeenth  century  .... 
Carved  wood  llgure  representing  a queen.  French,  sixteenth  century 
Carved  wood  column  in  polychrome.  French,  seventeenth  century  . 

Carved  wood  tlgure  in  polychrome,  representing  the  Virgin  of  Charity.  Spanish, 

seventeenth  century  

Carved  wood  llgure  in  polychrome,  representing  a cardinal.  Spanish,  seventeenth 

century  

Carved  wood  Figure  in  polychrome,  representing  a bishop  holding  the  model  of  a 

church.  Spanish,  seventeenth  century 

The  conservatory 

Carved  wood  Figure  representing  the  Virgin  holding  a ship.  French,  sixteenth 

century  

Fountain  in  terra-cotta  representing  the  infant  Bacchus.  French,  eighteenth 

century  

('Juiise  bcrgcrc.  Period  of  Louis  XIV  

Foot-rest.  Period  of  Louis  XIV 

Arm-chair.  Period  of  Louis  Xlll 

Arm-chair.  Period  of  Louis  Xlll 

Side  chair.  Period  of  Louis  Xlll 

Column  in  polychroiue 

Side  chair.  Period  of  Louis  XIV.,  late 

Octagonal  brazier  table.  Period  of  Louis  Xlll 

Carved  wood  tigure  representing  the  Virgin.  German,  sixteenth  century  . 

Carved  tlgure  of  a saint.  Flemish,  sixteenth  century 

Carved  Figure  representing  Saint  Anne.  Flemish,  sixteenth  century 
Carved  tlgure  representing  Saint  Peter.  French,  Fifteenth  century 

Fragment  of  a carved  group.  French,  tlfteenth  century 

Carved  group  representing  Saint  John  supporting  the  fainting  Virgin.  French, 

Fifteenth  century 

Fragment  of  a carved  group.  French,  fourteenth  century 

Carved  Figure  representing  Saint  Veronica.  French,  fourteenth  century  . 
Carved  Figure  representing  Saint  John  the  Baptist.  French,  sixteenth  century 
Carved  Figure  representing  a prophet.  French,  sixteenth  century 
Carved  wood  caryatid.  French,  seventeenth  century  ..... 
Carved  wood  pilaster.  French,  late  seventeenth  century 


24 

25 

2=1 

27 

27 

27 

28 

29 

30 

31 

31 

32 

32 

33 

33 

34 

34 

33 

33 

3(^ 

3 b 

3 b 

37 

37 

38 

38 

38 

39 

39 


miustratione  v 

PAGE 

Carved  wood  figure  representing  a bishop.  French,  sixteenth  century  . . 40 

Dining-room.  View  from  the  hall 41 

Carved  bracket.  Gothic  period 42 

Dining-room.  View  from  the  library 43 

Carved  bracket.  Gothic  period 44 

Stone  mantel  of  the  Renaissance  period 4s 

Carved  wood  column,  in  polychrome.  Spanish,  seventeenth  century  , . 46 

Carved  wood  column,  in  polychrome.  Spanish,  seventeenth  century  . . 46 

Stone  statue  in  polychrome.  French,  late  fifteenth  century  ....  46 

Carved  wood  statue  of  the  Virgin  and  child.  French,  sixteenth  century  . . 47 

Pa  net ie re  or  bread-basket 48 

Petrin,  or  kneading-trough  48 

Old  country  fountain  in  beechwood  and  pewter 49 

Tall  clock.  Signed  “ Le  Tellier  ” 50 

Tall  clock.  Signed  “ Leree  of  Brecey  ” 50 

Table  of  the  Louis  XIV.  period 51 

Carved  wood  altar  railing.  French,  seventeenth  century 51 

Table  in  elm.  English,  sixteenth  century 52 

Octagonal  table  in  elm.  Sixteenth  century 52 

Carved  walnut  table.  Period  of  Louis  XIV 53 

Jacobean  table 53 

“ Drawinge  table.”  Period  of  Louis  XIV.  54 

“ Drawinge  table.”  Early  seventeenth  century 54 

The  library.  View  from  the  gallery 5s 

The  library,  looking  towards  the  gallery s6 

Morocco  binding,  with  the  arms  and  ehiffre  of  Colbert sy 

Italian  binding.  Sixteenth  century s8 

Prayer-book  belonging  to  Henriette,  Duchesse  d’Oiieans,  sister  of  Charles  11  . sq 

Italian  binding.  Early  seventeenth  century 50 

One  of  Colbert’s  Bibles,  bound  in  morocco,  with  his  arms  and  ehiffre  . . bo 

A seventeenth-century  Italian  binding,  with  arms  of  a cardinal  . . . .60 

Italian  binding,  early  seventeenth  century,  with  the  arms  of  a cardinal  . . Pi 

Two  arm-chairs,  covered  in  old  Cordoue  leather.  Period  of  Louis  Xlll  . . 62 

Chaise  beri(ere,  cajvered  in  old  Q)rdoue  leather.  Period  of  Louis  XIV.  . . 03 

Side  chair,  covered  in  old  Gord(;ue  leather.  Period  of  Louis  Xlll.  . . • b3 


vi  miuetrations 

PAGE 

Arm-chairs,  covered  in  old  Cordoue  leather.  I^eriod  of  Louis  Xlll.  ...  64 

Arm-chair,  covered  in  old  Cordoue  leather.  Period  of  Louis  Xlll.  ...  65 

Arm  chair,  covered  in  old  Cordoue  leather.  Period  of  Louis  XIV.  ...  65 

Divan  covered  in  tapestry  jii  point.  Period  of  Louis  XIV 66 

C//jAv /u//^4^7/c  covered  in  tapestry  j// /)u////.  Period  of  Louis  XIV.  ...  66 

Ctijisc  loi!o-itc\  Flemish,  seventeenth  century 67 

Flemish  chairs.  Seventeenth  century 68 

Flemish  chairs.  Seventeenth  century 69 

Desk  chair.  Period  of  Louis  XIV 70 

Side  chair  in  marqueterie.  Period  of  Louis  Xlll. 70 

Divan  with  loose  cushion.  Period  of  Louis  XIV.  . . . . . .71 

Oak  table.  Period  of  Louis  XIV.  71 

Trousseau  chest  covered  in  leather  and  studded  with  copper  nails.  French,  sev- 
enteenth century 72 

Stron.or  Pox.  French,  sixteenth  century 73 

Coffrot  in  old  red  morocco  with  gold  tooling.  French,  seventeenth  century  . 74 

Bjnqiicttc  covered  in  old  Cordoue  leather.  Period  of  Louis  Xlll.  . . . 74 

Six-panel  screen  painted  by  Bourguignon.  French,  sixteenth  century  . , 75 

Four  carved  wood  panels  representing  the  Evangelists  ...  76  and  77 

Carved  wood  panel  representing  the  blessing  of  the  bread,  with  emblems  of 

the  Evangelists  in  the  four  corners 78 

Carved  wood  panel  representing  the  Mater  Dolorosa 79 

Carved  wood  tabernacle.  Erench,  seventeenth  century 80 

Carved  wood  group  representing  Saint  Anne  and  the  child  Virgin.  Erench, 

sixteenth  century 81 

Carved  wood  figure  representing  the  Virgin  in  the  temple.  Erench,  six- 
teenth century.  82 

Carved  wood  fgure  representing  Moses  writing  on  the  tablets.  Erench,  sixteentli 

century 82 

Carved  wood  fgure  representing  a pope.  Erench,  sixteenth  century  . . 82 

Lectern  in  carved  wood.  Erench,  seventeenth  century 83 

Carved  wood  bust  of  a pope.  French,  sixteenth  century 84 

Carved  wood  f gures  representing  bishops.  French,  sixteenth  century  . . 83 

Bust  of  a bishop,  forming  reliquary,  decorated  in  polychrome.  Spanish,  sixteenth 

century 85 


HUustratione 


vii 

PAGE 

Bust  in  carved  wood.  French,  sixteenth  century 85 

Pietii  in  carved  wood.  French,  fourteenth  century 85 

Figure  of  Christ  in  carved  wood.  French,  fourteenth  century  . . . .86 

The  Louis  X!V.  upper  gallery  . . 87 

The  south-east  bedroom  of  the  Masters’  suite  .......  88 

The  north-east  bedroom  of  the  Masters’  suite 89 

Banquette  ox  bench.  Period  of  Louis  XIV. 90 

Four-poster  bed  witli  Gothic  panels,  formerly  a judge’s  seat  ....  91 

Carved  four-poster  bed.  Period  of  Louis  XIV -92 

Two  commodes  in  walnut.  Period  of  Louis  XIV 93 

Carved  oak  anuoirc.  Made  in  Normandy,  eighteenth  century  ....  94 

Arm-chair  covered  in  Flemish  tapestry.  Period  of  Louis  XIV.  ...  93 

Table  of  the  Louis  XIV.  period  93 

Carved  wood  mantel  clock.  Period  of  Louis  XIV 93 

Curtains  in  toile  de  Jouy 9b 

The  boudoir  of  the  Masters’  suite  ........  97 

Carved  console  table.  Period  of  Louis  XVI.  98 

Two  arm-chairs,  covered  in  old  Cordoue  leather.  Period  of  Louis  Xill.  . . 99 

Two  arm-chairs,  covered  in  Flemish  tapestry.  Period  of  Louis  XIV.  . . 100 

Vitrine  table.  Period  of  Louis  XVI.  101 

Screen  of  the  Louis  XVI.  period 102 

Miniature  writing-desk.  Period  of  Louis  XVI.  . 102 

Marqueterie  commode,  made  at  a chateau  in  the  country.  Period  of  Louis 

XVI 103 

Chiffonier  in  marqueterie.  Made  early  in  the  reign  of  Louis  XVI.  . . .104 

Chaise  bergcre.  Period  of  Louis  XVI los 

Side  chair.  Made  late  in  the  reign  of  Louis  XVI los 

Console  table  with  trenieau  above.  Period  of  Louis  XVI.  . . . . . loo 

Lit  d VAugtais  or  three-sided  bed.  Period  of  Louis  XVI .107 

A bedroom  furnished  in  the  Louis  XVI.  style 108 

Arm-chair.  Period  of  Louis  XVI. ion 

Fire-screen.  Period  of  Louis  XVI ion 

Tabouret  or  stool.  Period  of  Louis  XVI ion 

A boudoir  furnished  with  an  old  Louis  XV.  salon  set  i lo 

Canape  or  sofa.  Period  of  Louis  XV.  . . . . . . .111 


viii  miUijtrations 

PAGE 

Arm-chair,  l^eriod  of  Louis  XV. . . .112 

Smail  Period  of  Louis  XV. .112 

Table,  with  canework  top.  Period  of  Louis  XV.  in 

Table  of  the  Louis  XV.  period  in  bois  dc  rose,  forming  poiuireiise  and  writing- 

desk  combined  in 

Arm-chair.  Period  of  Louis  XV.  . . . . . . , . ,114 

Tabouret  or  stool.  Period  of  Louis  XV.  . . . . . . . ,114 

A Chippendale  cabinet.  Chinese  design .in 

The  panelled  guests’ room . . . o 117 

Carved  J/7//U//V  made  in  Normandy.  Eighteenth  century  . . . . .118 

Carved  j/7//u/>c  made  in  Brittany.  Eighteenth  century 119 

Old  Normandy  prie-dieii  or  praying-desk .120 

Side  chair.  Period  of  Louis  XIV.  .........  120 

Arm-chair.  Period  of  Louis  XI 11. . . ,121 

of  the  Regence  period , . .121 

Stone  mantel  of  the  Cothic  period 122 

Carved  four-poster  bed.  Period  of  l.ouis  XIV 123 

Normandy  linen  press.  Eighteenth  century .124 

Talbot  House.  View  from  the  garden  . . . . , . , .127 

The  piazza 129 

A walk  in  the  vegetable  garden iii 

A walk  in  tbie  garden 133 

A corner  of  the  garden ns 

A summer-house  in  the  garden H7 

A walk  in  the  tlower  garden  . . . . , . . . , .139 


The  Talbot  J.  Taylor  Collection 


The  Talbot  J.  Taylor  Collection 

ALBOT  HOUSE,  the  home  of  Mr.  Talbot  J.  Taylor  at  Cedarhurst,  Long 


Island,  contains,  although  this  is  perhaps  not  generally  known,  a collection 


of  old  furniture,  wood  carvings  and  other  objects  of  art,  which  is  likely  to 
make  this  spacious  and  beautiful  country  residence  famous. 

It  is  the  purpose  of  the  brief  comments  that  accompany  the  illustrations  in  this 
volume  to  give  the  reader  some  idea  of  the  treasures  of  art  and  craft  which  Talbot 
House  contains,  and  to  point  out  the  good  taste  displayed  in  arranging  them,  and  the 
beautiful  and  harmonious  setting  which  the  house  itself,  with  its  rooms,  halls,  galleries 
and  conservatory,  affords  the  collection. 

The  building  that  houses  this  collection  is  in  the  style  which,  though  generally 
known  in  this  country  as  Elizabethan,  was  originally  pure  Norman.  It  is  a repro- 
duction on  an  elaborate  scale  of  the  kind  of  building  still  to  be  seen  throughout 
Normandy. 

Talbot  House  was  not  always  just  as  it  now  stands.  Wings  have  been 
thrown  out  from  time  to  time  to  make  the  original  building  more  spacious,  with  the 
result  that  it  is  now  a low,  rambling  structure  with  many  gables  and  red  chimne\' 
stacks,  the  main  part  of  it  being  only  two  stories  in  height  and  covered  with  ivy, 
vines  and  roses. 

The  casement  windows,  in  leaded  glass,  are  just  in  the  style  of  Marie  Antoi- 
nette’s Laiterie  and  the  Moulin  in  the  gardens  of  the  Little  Trianon.  The  hugh-pitched 
roof  and  the  gay  and  ingeniously  varied  dormers  delightfully  suggest  the  irregular 
plan  of  the  interior  and  the  surprises  that  meet  one  in  going  from  room  to  room. 

The  house  is  enteretl  through  a vestibule  of  leaded  glass  thickly  overgrown  with 
ivy,  and  this  again  opens  into  the  hall,  which  is  large  and  square,  panelled  in  dark 
oak,  with  a low  ceiling,  which  is  of  plaster,  ivory  in  tone,  and  decorated  with  a design 
of  scrolls  and  foliage.  On  either  side  of  the  stone  facing  of  the  lireplace  stands  the 


THE  ENTRANCE 


3 


tTbc  tlalbot  3.  ^a^Ior  Collection 

heroic  figure  of  a knight  in  armour.  Both  of  these  figures  are  entirely  of  carved  wood- 
work of  the  seventeenth  century. 

Before  examining  the  different  objects  of  the  Taylor  collection  piece  by  piece,  it 
may  not  be  amiss  to  say  a few 
words  in  a general  way  with 
regard  to  the  furniture  and  carv- 
ings of  the  periods  which  are 
best  represented  in  it.  And  in 
the  course  of  these  comments 
upon  the  more  notable  features 
of  the  decoration  and  furnishing 
ofTalbot  House,  occasion  will  be 
taken  to  point  out  the  changing 
characteristics  of  the  productions 
of  different  times,  and  to  indi- 
cate the  interesting  relation  that 
exists  between  the  develop- 
ment of  social  life  and  the 
forms  assumed  by  the  decora- 
tive arts. 

A study  of  the  furniture  of 
the  best  known  periods,  com- 
bined with  a knowledge  of  the 
history  of  those  periods,  of  the 
infiuences  that  created  them, 
and  of  the  personalities  that 
dominated  them,  can  hardly  fail 
to  interest  even  the  least  en- 
thusiastic ; and  with  very  little 
study  come  an  appreciation  of 
the  fitness  of  things,  a know- 
ledge of  what  should  go  together,  and  the  capacity  for  creating  an  atmosphere 
that  is  harmonious  and  pleasing,  even  though  it  be  simplicity  itsell.  In  tael  over- 
ornamented furniture  is  not  the  most  beautiful.  There  is  furniture  of  extieme 
simplicity  where  the  ornamentation  consists  of  exciuisite  carving  instead  of  heav}' 


Zbc  C:albot  3.  Easier  CoUcction 


ormolu,  mid  where  the  eolouring  of  the  wood  is  of  that  indescribable  tone  which 


age  alone  can  give  and  no  tac-siniile  can  appioach. 


The  French,  beyond  all  other  natons,  have  always  set  in  a fitting  background 
the  beautiful  turniture  which  they  made 
and  of  which  they  have  been  the  master 
crattsmen  ever  since  Francis  1.  introduced 
the  gior>-  of  the  French  Renaissance.  Fie 
it  was  who  invited  to  France  architects, 


) { 

i\ 


FIG.  la  FIG- 

sculptors  and  painters  from  Italy,  which  heretofore  had  led  in  art.  In  Francis 
they  found  a liberal  patron,  rich,  ambitious,  courageous.  A worshipper  of  beauty, 
he  has  left  his  unmistakeable  mark  on  every  building  that  he  ever  touched. 
His  intluence  lasted  after  him  through  succeeding  reigns,  slowly  diminishing, 


THE  HALL 


6 


the  tTalbot  3.  ^a^lor  Collection 


however,  until,  towards  the  end  of  tlie  reign  of  Louis  Xlll.,  it  was  scarcely  more 
than  a tradition.  Then  came  Imuis  XIV.,  and  with  him  a fresh  artistic  im- 
pulse. The  resolution  to  lift  France  to  the  foremost  rank  as  a home  of  the 

arts,  which  originated  with  Fouquet,  had  been  adopted  and  enlarged  after  his 
disgrace  and  banishment  in  iPPi  by  his  successor  Colbert ; and  Louis,  in  his  pro- 
digious egotism  and  superb  ostentation 
encouraged  every  step  that  conduced  to 
his  own  magnificence.  Thus  began  a 
new  era  in  the  history  of  furniture.  No 
coiisideration  of  expense  was  allowed  to 
interfere,  and  this  extravagance  continued 
during  the  seventy-two  years’  domination 
of  the  Grand  Monarch,  and  reduced  the 
nation  to  the  verge  of  bankruptcy.  But 
tliOLigh  the  country  suffered,we,  posterity, 
have  profited  by  what  is  left  to  us  of  the 
glory  of  Ic  Roi  Soldi. 

The  changes  wrought  in  Paris  affected 
the  country  slowly,  and  provincial  artists 
working  at  the  period  of  Louis  XIV.  pro- 
duced furniture  very  different  from  the 
showy  and  gaudy  pieces  in  vogue  at 
Court.  Examples  of  these  are  most  in- 
teresting and  give  a true  keynote  to  the 
sentiment  of  the  times  throughout  France. 
In  Paris  to-day  there  is  much  enthusiasm 
over  the  provincial  furniture  of  this  period  ; 
but  there  is  a drawback  in  connection  with  collecting  it,  for  almost  all  Parisian  homes 
are  apartments,  where  space  is  limited,  and  where,  consequently,  these  massive 
creations  do  not  show  to  advantage.  These  considerations  were  not,  however, 
objections  which  Mr.  Taylor  had  to  consider.  In  his  Cedarhurst  home,  the  rooms 
are  immense  and  absorb  this  massive  furniture,  and  set  it  off  as  well,  if  not  better, 
than  did  its  original  resting-place. 

The  great  square  hall  of  Talbot  House,  panelled  in  oak,  is  hung  all  round  with 
bits  of  carving,  pilasters,  caryatids  and  brackets.  One  side  is  lined  with  stalls  from  a 


FIQ.  2— FOLDING-CHAIR,  FLEMISH 
Seven teenth-Century 


THE  DRAWING  ROOM 


8 ^bc  Calbot  3.  CIa\>Ior  CoUcctioii 

devastated  monastery.  In  the  centre  is  a large  oak  extension  table  of  the  period  of 
Lonis  XIV.,  around  which,  are  grouped  three  old  Flemish  chairs  (Figures,  i'\  i^)  ot  the 
seventeenth  century.  In  England  in  the  time  of  Charles  II.  the  wealthy  people  all 
indulged  in  these  chairs,  wfiich  were  made  to  order  tor  them,  and  each  chair  is 
marked  with  the  name  (C  the  family  for  which  it  was  made,  in  Figure  2,  we  have 
a small  folding-chair,  alsr)  Flemish,  of  which  there  are  four  in  this  collection.  They 


SEVENTEENTH-CENTURY  STALLS 

are  all  exactly  like  one  in  the  South  Kensington  Museum  in  London,  and  like 
two  in  the  room  of  Diane  de  Poitiers  in  the  Chateau  of  Chaumont,  in  the 
Touraine. 

The  residence  of  Charles  11.  abroad  had  accustomed  him  and  h.is  friends  to  the 
much  more  luxurious  furniture  of  France  and  Holland.  Up  to  this  time  in  England 
there  had  been  little  or  no  luxury.  Chairs  of  any  kind  were  rare,  and  the  average 
house  possessed  but  two,  one  for  the  master  and  one  for  the  mistress,  the  rest  of  the 
company  being  provided  with  stools.  Charles  IF,  indolent  and  fond  of  luxurv.  came 


tCbe  tTalbot  3.  tTapIor  Collection 


9 


to  the  English  throne  in  1660.  He  imported  from  Holland  cane  fnrnitLire  of  a superior 
quality,  which  became  very  much  the  fashion  and  was  indulged  in  by  all  who  could 
afford  it.  in  this  collection  we  have  eleven  chairs  of  this  style,  varying  slightly  in 
design  and  form,  as  shown  in  Figures  3 and  4.  These  chairs  are  now  rare.  The 


FIG.  3.— FLEMISH  CHAIR  F'Q'  4.— FLEMISH  CHAIR 

Seventeenth-Century  Seventeenth-Century 

Louvre  contains  only  two  examples  and  the  Cluny  but  lour.  There  are  still  some  to 
be  seen  in  a few  old  English  houses,  such  as  Knole,  the  ancient  home  of  the  Earls 
of  Dorset,  and  also  in  the  English  museums. 

Figure  5 represents  an  old  carved  bed  from  Brittany,  which  has  been  cut  down 


lO 


ZTaibot  3.  ^a\>Ior  Collection 


and  covered  with  Flemish  tapestry.  It  was  made  to  lit  in  an  alcove,  and  conse- 
quently only  the  front  is  carved.  Another  and  a much  more  magnificent  example  of 
this  style  of  bed  is  given  in  Figure  P.  In  this  instance  an  open  cabinet  was  made 
from  it— a transformation  easily  accomplished  by  simply  inserting  shelves. 

The  drawing-room,  which  is  entered  by  a door  leading  from  the  hall,  is  also 
panelled  in  oak.  I'he  pilasters  and  cornice  of  this  apartment  are  richly  carved  in  the 
best  style  of  the  Renaissance,  while  the  panels  are  plain,  affording  repose  and  bringing 
the  ornament  into  relief 


FIG.  5. -CARVED  OAK  BED  FROM  BRITTANY 
Adapted  for  Divan 


In  Figure  7,  we  have  a Louis  XV.  seat,  the  frame  beautifully  carved  and  gilded 
and  covered  in  Beauvais  tapestry.  There  are  four  like  it  in  this  room.  The  original 
set  consisted  of  six,  but  the  other  two  were  bought  by  the  King  of  England,  Edward 
VIE,  then  Prince  of  Wales,  and  were  put  in  the  State  drawing-room  in  Marlborough 
House.  On  these  seats,  and  on  the  two  like  that  in  Eigure  8,  the  tapestry  repre- 
sents the  fables  of  La  Eontaine.  The  screen  shown  in  Figure  9 is  also  in  Beauvais 


^be  Talbot  3.  Easier  Collection 


1 1 

tapestry  with  designs  after  Boucher.  The  carved  and  gilded  frame  of  this  beautiful 
piece  has  transparent  glass  panels  at  the  top. 

Apropos  of  this  screen  and  the  chairs,  a word  regarding  French  tapestry  might 
not  be  out  of  place.  Late  in  the  sixteenth  century  two  brothers,  Gilles  and  Jean 
Gobelin,  had  introduced  from  Venice  the  art  of  dyeing  scarlet  and  other  colours,  and 
this  enterprise,  at  first  considered  foolish,  acquired  the  name  of  “ Folie  Gobelin.”  But 
later  it  attracted  the  attention  of  Francis  1.,  who,  appreciating  the  beauty  and  value 
of  the  Flemish  tapestries,  wished  to  introduce  the  industry  into  France,  and  in  1603 
he  added  a tapestry  factory  to  the  dye-works  of  the  Gobelin  family  to  which  he  gave 
his  royal  patronage.  These  works  continued  and  prospered,  but  their  great  ultimate 
success  was  due  to  Gharles  Le  Brim  who,  though  a painter  by  profession,  had  been 
appointed  by  Fouquet  as  director  of  the  tapestry  factory  which  he  had  started  at 
Maincy.  When  this  factory  was  subsequently  transferred  by  Golbert  to  the  Gobelins, 
Le  Brun  was  maintained  in  his  post.  In  1609,  Golbert  ordered  the  manufacture,  at 
Gobelin,  of  tapestry  suitable  for  furniture,  but  afterwards  transferred  this  particular 
branch  of  the  art  to  the  State  Works  of  Beauvais  where  the  more  special  work  of 
making  coverings  for  chairs  and  sofas  was  carried  on  the  looms  of  Gobelin  being 
generally  employed  to  produce  large  panels  for  hangings.  After  the  death  of  Colbert 
and  Le  Brun,  such  large  subjects  were  less  in  demand,  and  then  the  Gobelins  also 
turned  their  attention  to  the  more  profitable  coverings  for  furniture,  although  the 
Fictory  at  Beauvais  was  long  granted  the  palm  for  excellence  in  llowers,  trees 
and  tlgures. 

Besides  the  tapestry  made  for  furniture,  sometimes  at  Gobelin,  but  more  gen- 
erally at  Beauvais,  a great  deal  was  produced  by  the  looms  at  Aubusson,  but  this 
latter  manufactory  never  acquired  a very  high  reputation,  for  it  met  the  demand  of 
the  people,  the  productions  of  (fobelin  and  Beauvais  being  monopolised  by  the 
Court.  It  was  from  these  looms  that  there  came  those  coverings  for  furniture,  with 
designs  after  Boucher,  La  Fontaine’s  fables,  and  Don  Qj/ixoto.  During  the  Revolu- 
tion so  many  of  these  tapestries  were  destroyed  tliat  those  remaining  are  simply 
priceless,  and  at  the  recent  sales  at  the  H(3tel  Drouot  in  Paris,  and  at  Christie  s in 
London,  even  inferior  pieces  have  brought  prices  that  are  fabulous. 

When  we  remember  that  the  reign  of  Louis  XIV.  lasted  for  nearly  seventy-seven 
years,  it  is  not  surprising  that  before  his  death  the  general  style  of  the  furniture  shoukl 
gradually  change,  becoming  less  severe  and  following  the  lines  of  a more  free  and 
flowing  treatment.  The  curled  endive,  which  afterwards  became  so  characteristic  of 


12  ^bc  (Talbot  3.  ^Ta^Ior  Collection 

the  furniture  of  Louis  XV.,  lirst  appeared  towards  the  end  of  this  reign,  as  did  also 
the  cabriole  leg. 


FIG-  6.— OLD  ALCOVE  BED 
.Adapted  for  Open  Cabinet 


Louis  XV.  was  but  five  years  of  age  when  he  succeeded  his  great-grandfather  to 
the  tbirone  of  France.  During  his  minority  Philippe  Due  d’Orleans,  the  nephew  of 
Louis  XIV.,  was  appointed  Regent,  and  this  period  of  some  eight  years  is  known  as 


^Tbe  Talbot  3.  ^a^lor  Collection 


13 


V epoch  lie  Ij  Rtpviicc,  and  is  celebrated  for  the  scandals  and  intrigues  which  abounded 
at  a Court  which  was  quite  as  magnificent  and  infinitely  more  gay  than  that  of  the 
preceding  reign.  The  great  formality,  which  had  been  the  distinctive  feature  of  the 


FiG.  7.-CARVFD  AND  GILDED  SEAT  OF  THE  PERIOD  OF  LOUIS  XV 
Covered  in  Reauvais  Tapestry 

Court  of  Louis  XIV.,  disappeared,  social  intercourse  became  more  easy  and  iii/iiiic, 
and  the  inlluence  of  the  boudoir  began  to  prevail.  This  change  in  social  tone  was 
reflected  in  the  furniture,  which  showed  more  profuse  decoration. 

Louis  XV.  was  brought  up  in  too  frivolous  a school  to  encourage  any  great 
severity  in  his  furnishings,  which  abouiukal  in  the  most  coquettish  tlecoration  doves, 
wreaths,  iLjwing  scrolls  aiul  cupids.  The  paintings  by  Boucher,  l.ancixd  and  W'atteau 


14 


f IQ.  8.— CARVED  AND  GILDED  SEAT  OF  THE  PERIOD  OF  LOUIS  XV 
Covered  in  Beauvais  Tapestry 


15 


FIQ.9.  THREE  FOLD  SCREEN  OF  THE  PERIOD  OF  LOUIS  XV 
Curved  und  (dlded  w ith  lli  uuvais  I upe-.try,  Kepri  seiiting  Sidijei  ts  ufur  I'.om  lier 


I 


^Tbe  Talbot  3.  ^a^Ior  Collection 


17 

depict  very  ncciirately  the  spirit  and  sentiment  of  the  age,  which  was  one  of  gallantry 
and  intrigue— with  love  the  ever  prevailing  theme. 

In  Figure  lo  we  find  a console.  This  collection  possesses  a pair  of  consoles,  which 
are  very  excellent  examples  of  the  Louis  XV.  period.  Time  has  moderated  the  colour 
of  the  woodwork  and  the  tint  of  the  gold  with  which  it  is  overlaid.  The  combina- 
tion of  the  lights  and  shadows,  caused  by  the  relief  of  the  work  and  the  consequent 
darkening  of  the  parts  more  depressed,  together  with  the  brightness  of  the  prominent 


FIQ.  11.— COMMODE  IN  MARQUETERIE  WITH  BRONZE  MOUNTS,  PERIOD  OF  LOUIS  XV 


ornaments,  produces  an  effect  which  is  exceedingly  elegant  and  rich.  One  cannot 
wonder  that  connoisseurs  are  prepared  to  pay  such  large  sums  for  genuine  specimens 
of  this  sort,  or  that  clever  imitations  are  extremely  costly  to  produce. 

In  Figure  1 1 we  have  a Louis  XV.  rosewood  commode,  with  curved  front  and 
ends  handsomely  decorated  with  ormolu  work  in  leaves  and  scrolls.  ’Lhe  mounting 
on  this  piece  is  simple  and  takes  the  subordinate  place  that  ornament  should,  letting 
the  beauty  of  the  wood  and  the  design  in  marcinetry  stand  out.  In  a great  deal 
of  the  work  of  this  period— the  pieces  executed  by  the  celebrated  CalTieri,  for 


i8 


FIQ.  12— CHAISE  A PORTEURS— IN  VERNIS  MARTIN 
From  View 


19 


FIQ.  13— BACK  VIEW  OF  CHAISE  A PORTEURS— IN  VERNIS  MARTIN 


20  ^Talbot  3.  (ToUection 

example — the  wood  became  merely  the  vehicle  on  which  a wealth  of  ormolu  was 
hung. 

One  ot  the  most  interesting  objects  in  this  room  is  the  ciuise  j porteiirs,  with 
the  arms  ol  the  Due  d'Oiieans,  supported  by  centaurs,  on  the  front  and  back,  while 


FIG.  14.— CARVED  FIGURE  OF  THE  GOTHIC  PERIOD  FIG.  14^*.— CARVED  PIETA  OF  THE  GOTHIC  PERIOD 

Representing  Ste.  Anne 

the  sides  are  decorated  with  the  double  L entwined  and  encircled  by  the  O.  The 
original  upholstery  in  yellow  damask  is  in  the  interior.  This  chair  (Figures  12  and  13) 
is  in  the  genuine  Vernis  Martin,  and  it  is  but  rarely  that  such  a perfect  example  of 
this  work  can  be  seen. 


^be  Talbot  ^a^lor  Collection 


2 I 

Even  as  early  as  1691  the  Langlois,  pereet fils,  Sieur  Paty,  and  the  Essartshad  ac- 
quired reputations  for  imitating  the  splendid  lacquer  work  of  the  Orient,  so  that  the 
Martin  brothers  did  not  originate,  but  greatly  perfected,  the  transparent  varnish  which 
bears  their  name.  The  elder  Martin  had  been  a coach-builder,  and  it  was  in  the  dec- 
oration of  the  panels  of  these  vehicles  that  he  first  became  tamous.  So  great  was  the 


BEAKER  MADE  IN  NUREMBURQ 

, Seventeenth-Century 

j success  of  the  Martins  that  in  174s  the  four  brothers  were  given  the  privilege,  during 
j twenty  years,  to  fabricate,  exclusively,  all  sorts  of  work  in  relief  in  tlie  styles  of  japan 
i and  China.  They  did  not  confine  themselves,  however,  to  Oriental  subjects,  but 
: decorated  extensively  in  the  style  of  the  artists  of  that  day,  representing  mythological 
scenes  and  ftHes  gjlantcs. 

In  the  open  cabinet  (Figure  6)  before  referred  to,  there  are  a few  small  bits  of 
wood-carving  of  the  (T)thic  period  (see  Figure  14)  and  a collection  of  old  church  ves- 
' sels,  consisting  of  chalices,  reliquaries,  incense  holders,  etc.,  among  which  are  some 
very  fine  specimens  indeed.  The  two  vases  in  Figure  ;s  are  exquisite  exanqdes  of 
: Alsatian  work  of  the  time  of  Imuis  Xlll.  ( Kiio-mqs).  The  vase  on  the  left  is 
I signed  with  the  initials  P.  ].,  and  that  on  the  right  is  signed  T.  B.  They  were 
I made  in  Ribeauville  in  the  seventeenth  century,  although  from  the  principle  of  the 


22 


CHURCH  VESSEL 
French,  Seventeenth-Century 


tTbe  ZCalbot  5.  ^Tai^Ior  Collection  23 

decoration,  it  is  easy  to  see  that  these  rare  pieces  partake  of  the  inspiration  of  the 
Renaissance. 

Figures  14,  14''  and  14*  represent  three  Gothic  carvings.  The  craze  for  wood-carv- 
ings, which  is  now  rampant  in  Paris,  has  not  yet  reached  this  country.  People  here 
will  perhaps  not  very  readily  sympathise  with  the  enthusiasm  of  the  connoisseur  over 
a fragment  of  primitive  wood,  crudely  and  grotesquely  carved  at  a time  when  the  art 
was  in  its  infancy.  But  such  pieces  have  an  archaic  charm,  and  often  reveal  a pure 
and  fervent  religious  inspiration. 

The  recent  upheaval  in  France,  caused  by  the  separation  of  the  Church  and  the 
State,  and  resulting  in  the  banishment  of  the  religious  orders,  has  brought  to  light  un- 
told treasures  in  this  style  of  carving.  The  figures  of  saints  and  of  the  Virgin,  the 
crucifixes,  the  pietas  so  long  hidden  in  the  obscurity  of  convents  and  monasteries, 
have  been  dispersed  and  sold  ; and  this  for  a short  time  gave  to  the  collector  the 
opportunity  of  securing  exquisite  examples  of  the  work  of  the  hfteenth,  sixteenth,  and 
seventeenth  centuries,  and  occasionally  even  rarer  specimens  of  the  work  of  the 
twelfth  and  fourteenth  centuries.  A recent  law  passed  in  France  has  forbidden  the 
further  sale  of  these  objects  by  the  religious  orders,  and,  to  enforce  this  enactment, 
an  inventory  of  the  contents  of  every  church  in  France  has  been  taken,  which  will  be 
gone  over  at  stated  intervals  by  oftkials  of  the  Government.  Hence  those  who  have 
secured  good  examples  of  this  art  are  indeed  lucky,  as  they  are  every  day  becoming 
rarer  and  more  priceless.  The  museums  have  absorbed  all  that  they  could  lay  their 
hands  on.  The  Cluny  Museum  in  Paris  is  replete  with  these  treasures,  and  the 
opening  of  the  new  Musee  des  Arts  Decoratifs  has  given  to  the  public  galleries 
filled  with  the  finest  examples  of  the  primitive  art  of  wood-carving. 

Mr.  Taylor  was  fortunate  in  being  able  to  secure  a great  number  of  carved 
figures  before  the  passing  of  the  new  law  in  France,  and  probably  no  one  in  this 
country  has  finer  examples.  In  Talbot  House  they  find  a setting  which  shows  them 
to  the  best  advantage,  and  so  well  do  they  suit  the  vast  rooms  with  the  dark  oak 
panelling  that  they  have  been  favoured  there  above  all  other  bibelots. 

In  Figure  16  we  have  the  carved  figure  of  a queen,  sixteenth  century,  a most 
interesting  specimen,  because  of  the  subject,  which  is  most  unusual,  and  because  of 
the  grace  of  the  attitude.  This  figure  stands  four  feet  high,  and  is  mounted  on  a 
pedestal  (Figure  17),  a low,  carved  column  in  French  polychrome  of  the  seventeenth 
century,  with  a design  in  grapes  and  leaves. 

Figure  18  represents  a Spanish  polychrome  carving  of  the  sixteenth  century, — 


24 


tlhc  ilalbot  3.  ^a\)Ior  Collection 


the  Virgin  of  Charity.  The  Virgin  is  seen  carrying  the  Divine  child,  and  protecting 
another  child.  There  is  a great  charm,  and  exquisite  warmth  and  colour  in  this  piece. 

Figure  iQ  represents  a cardinal,  in  polychrome.  He  wears  his  red  hat.  The 
piece  is  graceful  in  form,  and  an  exquisite  bit  of  colour. 

This  and  the  Bishop  (Figure  20)  holding  the  min- 
iature model  of  the  Church  he  built,  are  of  Spanish 
workmanship  too,  and  in  polychrome,  but  of  the 
seventeenth  century. 


FIQ.  15.— SILVER  VASE  FIG.  15«  SILVER  VASE 

ALSATIAN  WORKMANSHIP  OF  THE  SEVENTEENTH  CENTURY 

Figure  21  represents  the  Virgin  with  the  Ship,  sixteenth  century.  This  is  the 
sailors’  Virgin,  The  Star  of  the  Sea,  before  whom  seafarers  burned  their  votive  offerings 
on  a return  from  perils.  There  is  much  charm  in  the  pose  of  this  figure  and  in  the 
flowing  draperies. 


FIQ.  16.— CARVED  WOOD  FIGURE  OF  A QUEEN 
F'rcnch,  Sixtccnth-Ccntiiry 


Flo.  17.- CARVED  COLUMN  IN  POLYCHROME 
French,  Seventeenth-^  i ntury 


Zbe  ZTalbot  3.  ^aplor  Collection 


There  are  many  collectors  who  prefer  Gothic  statues,  with  their  awkward  rigid- 
ity, to  the  more  technically  perfect  works  of  a later  period  ; and  certainly  they  do  pos- 
sess a great  interest.  But  for  real  grace, 
finished  carving,  and  attractive  subjects, 
the  productions  of  the  sixteenth  century 
of  course  surpass  earlier  attempts. 


The  Conservatory  in  'falbot  House  is  particularly  original.  It  consists  lirst  of  a 
balccaiy  furnished  like  a lajoiii,  and  this  leads  down  a few  steps  to  the  conservator)' 


26 


Z\x  ^Talbot  3.  <Ta\>lor  Collection 


proper,  a mass  of  palnis,  foliage,  and  glowing  colour,  the  whole  enclosed  in  leaded 
glass.  In  one  corner  there  is  a fountain  worthy  of  particular  attention,  as  the  central 
hgure  is  of  terra-cotta  representing  the  Intant  Bacchus,  Figure  22.  This  comes 
from  an  old  French  garden,  and  is  a genuine  eighteenth-century  piece.  Terra-cotta 
has  been  used  for  decorative  purposes  from  a very  early  period  of  the  world’s  history. 
Take,  for  instance,  the  Tenagra  hgures.  But  it  was  in  the  eighteenth  century,  when 
there  reigned  in  France  a perfect  passion  for  colour,  that,  in  seeking  something  less 
rigid  than  bronze  and  warmer  than  marble,  they  resorted  to  clay  to  express  the  esprit 
and  charm  of  the  gay  mythological  subjects,  which  had  conie  into  vogue,  and  no  one 
who  has  ever  beheld  the  work  of  Clodion  can  doubt  the  power  of  expression  that 
lies  in  this  material.  Genuine  pieces  of  eighteenth-century  terra-cotta  are  almost  im- 
possible to  find,  and  for  this  reason  there  have  arisen  establishments  in  Paris  where 
reproductions  of  the  eighteenth-century  subjects  in  terra-cotta  are  made,  which  are 
extremely  difficult  to  detect,  and  these  are  scattered  through  the  antique  shops  and 
very  often  sold  for  genuine. 

The  balcony  of  the  Conservatory  is  furnished  with  chairs  and  tables  and  shaded 
lamps  that  make  a delightfully  informal  room. 

Figure  23  represents  a L'liaisc  bergcre  the  Louis  XIV.  period,  covered  with  Flemish 
tapestry,  which  is  generally  called  verdure  tapestry.  The  cluise  hergere,  which  is  an 
arm-chair  with  upholstered  instead  of  open  sides,  is  supposed  to  have  been  an  inno- 
vation during  the  reign  of  Louis  XV. , but  this  collection  possesses  two  of  the  Louis  XIV. 
period,  thus  provingthat,  although  rare,  there  were  a few  made  duringthe  latter  epoch. 

The  small  foot-rest  ( Figure  24)  is  also  in  verdure  tapestry.  This,  when  drawn  in 
front  of  the  bergcn\  forms  a cluise  longue. 

In  Figures  25  and  26  there  are  two  examples  of  arm-chairs  of  the  Louis  XIII. 
period,  while  Figure  27  shows  a side  chair  of  the  same  epoch,  and  there  are  two  such 
chairs  in  Mr.  Taylor’s  collection.  The  side  chair  in  Figure  28  is  of  the  Louis  XIV. 
period,  but  was  made  late  in  that  reign  when  the  cabriole  leg  was  beginning  to 
appear. 

The  Flemish  tapestry  which  covers  these  chairs  had  been  used  previous  to  the 
reign  of  Henry  IV.  in  all  the  palaces  and  chateaux  for  the  arras  or  wall  hangings,  but 
when  the  practise  of  panelling  the  walls  in  wood  came  into  general  vogue,  it  was 
quickly  adopted  by  the  rich  and  luxurious,  as  it  rendered  more  air-tight  the  draughty 
buildings.  Consequently  many  of  the  old  arras,  whether  in  tapestry  or  leather,  when 
no  longer  required  for  wall  hangings,  were  put  to  practical  use  by  employing  them  as 
coverings  for  chairs  and  sofas.  This  practise  especially  appealed  to  people  living  in 


1 REPRESENTING  A BISHOP  HOLDING 

THE  MODEL  OF  A CHURCH 

FIG  18. — CARVED  FIGURE  IN  POLYCHROME  Spanish,  Seventeenth-Century 

REPRESENTING  THE  VIRGIN  OF  CHARITY 
Spanish,  Sixteenth-Century’ 


THE  CONSERVATORY 


Zbc  Talbot  3.  ^aplor  Collection 


29 


chateaux  in  the  country,  and  most  of  the  old  chateau  furniture  of  the  time  of  Louis 
Xlll.  and  Louis  XIV.  was  upholstered  in  this  way. 

The  octagonal  table  (Figure  29),  with  eight  turned  legs,  is  of  the  Louis  Xlll. 
period.  The  top  is  covered  with  brass.  This  table  was  used  at  that  time  to  hold  the 
brazier  of  live  charcoals  which  served  to  heat  the  rooms  where  there  was  no  open  fire. 

On  the  railing  dividing  the  raised  balcony  or  room  portion  of  tlie  Conservatory 
from  the  sunken  or  garden  part,  there  are  ranged  more 
carved  saints.  The  sixteenth-century  Virgin  in  Figure 
10  is  of  German  workmanship.  Figure  31  represents 
Ste.  Anne,  the  mother  of  the  Virgin  Mary,  holding  on 
her  arm  the  small  figure  of  the  Virgin,  who  in  her 
turn  holds  the  still  smaller  figure  of  the  Infant  Jesus. 

This  piece  is  also  sixteenth  century,  but  the  work  of 
Flanders.  The  almost  grotesque  manner,  exemplified 
in  this  piece,  of  presenting  the  three  figures  in  one, 
was  a favorite  conceit  of  even  earlier  periods.  There 
is  a small  Gothic  figure  of  this  same  subject  in  the 
cabinet  in  the  drawing-room  (Figure  14).  The  Pope 
(Figure  32  ),  holding  a book  and  the  key  of  Heaven,  is 
of  the  fifteenth  century,  and  a very  good  specimen  of 
Gothic  work.  It  is  supposed  to  represent  St.  Peter. 

Returning  through  the  hall,  which  hns  in  it  so 
many  carvings  that  we  shall  not  attempt  to  enumerate 
them  all,  we  notice  particularly  a group  (Figure  11), 
also  of  the  fifteenth  century.  This  is  only  a fragment 
— all  that  remaiiT=;  of  some  large  piece — but  interesting 
as  an  example  of  fifteenth-century  work.  Figure 
34  is  a small  fifteenth-century  piece.  The  subject 
is  St.  John  supporting  the  fainting  Mother  of 
God.  There  is  one  almost  identical  with  this,  but  possessing  a third  figure  in  the 
group,  in  the  Cluny  Museum  in  Paris.  Figure  is  is  quite  a small  bit,  but  one  of  the 
gems  of  the  collection,— a carving  of  the  fourteenth  century.  Gousidering  its  date, 
it  is  remarkable  for  fineness  and  finish.  There  are  but  two  figures  iu  it,— knights  in 
characteristic  postures  of  the  victor  and  the  vaiu]uished  but  it  is  evident  that  origi- 
nally there  were  more  in  the  group,  for  there  is  a superfluous  leg  in  the  background, 


FIQ.  21--CARVED  FIGURE  REPRESENTING 
THE  VIRGIN  HOLDING  A SHIP 
French,  Si.\teentli-Ccntury 


FIQ.  22.— FOUNTAIN  IN  TERRA-COTTA,  REPRESENTING  THE  INFANT  BACCHUS 
French,  Eighteenth-Century 


FIQ.  23-— CHAISE  BERGERE  OF  THE  PERIOD  OF  LOUIS  XIV 


FIG.  25.— ARM-CHAIR  OF  THE  LOUIS  XIII  PERIOD 


tlbe  tlalbot  3.  ZTai^Ior  Collection 


33 


FIQ-  27— SIDE  CHAIR  OF  THE  LOUIS  XIII  PERIOD 


COLUMN  IN  POLYCHROME 


teenth-ceiitury  carving,  a Ste.  Veronica — a crude  and  primitive  production  in  which 
the  form  is  defined  by  a few  lines  that  just  serve  to  detach  the  figure  from  the  wooden 
block  out  of  which  it  is  cut.  Figure  37  is  a caryatid,  and  Figure  18  a pilaster,  both  of 
the  seventeenth  century,  and  interesting  as  architectural  bits  of  the  Louis  XIV.  period. 
Figure  39  represents  a bishop,  a very  effective  piece.  The  high  mitre,  the  flowing  robes, 


the  head  and  trunk  that  belong  to  it  having  been  broken  off.  But,  despite  the  unfor- 
tunate mutilation,  this  work  is  remarkably  interesting ; and  happily  there  has 
been  no  modern  attempt  to  supply  the  missing  figure.  As  we  all  know,  the  real 
enthusiast  for  wood-carving  insists  that  the  restoration  of  a broken  statue  ruins  its 

value,  and  that  it  is  far  more  in- 
teresting to  possess  a piece  lacking 
head,  arms  or  legs,  than  to  have 
these  members  restored.  The 
Louvre,  the  Cluny,  the  Musee  des 
Arts  Decoratifs;  all  possess  plentiful 
examples  of  broken  and  defaced 
primitive  carvings,  all  absolutely 
sj/is  restjiirjtioii. 

Figure  36  is  an  example  of  four- 


tTalbot  3.  ^Ta^Ior  Collection 


35 


the  poise,  and  expression  constitute  a statue  at  once  beautiful  and  thoroughly  charac- 
teristic of  sixteenth-century  work.  Figure  40  represents  brackets  of  the  Gothic  period. 

Passing  into  the  dining-room,  we  hnd  ourselves  in  a gallery-like  room,  with 

windows  on  both  sides.  The  floor  consists  of  great 
blocks  of  marble,  some  white,  some  green.  The  ceiling 
has  heavy  beams  with  plaster  decoration  of  fruit  and 
flowers.  The  high  stone 
chimney-piece  (Figure  41) 
is  of  the  Renaissance  period. 

The  walls  are  hung  with 
heavy,  violet  damask,  and 
this,  combined  with  the 
stone  and  marble,  produces 
a colour  effect  that  is  really 
unique.  Between  the  win- 
dows stand  high  columns 
(Figures  42  and  4s  ) in  poly- 
chrome of  the  seventeenth 
century.  These  are  fitted  for 
electricity  and  surmounted 
with  silk  shades.  So  used 
they  carry  out  the  purpose 
for  which  they  were  origin- 
ally designed.  And  here,  in 
connection  with  these  columns,  something  may  appropriately  be  said  in  regard  to 
polychrome. 

The  word  “polychrome”  is  used  both  in  English  and  French  to  describe  the 
much-used  process  of  painting  and  gilding  which  seems  to  have  been  in  practice  from 
a very  early  date,  sometimes  for  the  decoration  of  the  walls  of  dwellings  and  public 
buildings,  both  inside  and  out,  but  more  often  for  churches.  In  the  eighteenth 
century  Diderot  did  not  hesitate  to  say,  that  to  paint  a statue  was  to  commit  an  act 
of  barbarism.  However  this  may  be,  it  is  an  established  fact,  that  nearly  all  the  very 
old  statues  were  painted,  whether  the  material  used  was  of  stone  or  of  wood;  and 
traces  of  the  original  painting  have  been  found  on  the  statues  which  decorate  Notre 
Dame  de  Paris. 


CARVED  FIGURE  OF  A SAINT 
Flemish,  Sixteenth-Century 


FIG.  30  —CARVED  FIGURE  OF  THE  VIRGIN 
German,  Sixteenth-Century 


tN. 

fO 


FIG.  34.— CARVED  FIGURE  REPRESENTING  SAINT  JOHN  SUPPORTING  THE  FAINTING  VIRGIN  .rr.  a 

FIG  35. — FRAGMENT  OF  CARVED  GROUP 

French,  Fifteenth-Century  r-  l t.^  i.  r' 

French,  r ourteenth-Century 


38 


^bc  ZTalbot  3.  {Tailor  Collection 


In  Figure  44  we  have  a stone  statue  (late  fifteenth  century)  which  still  retains 
some  of  the  old  colours — blue  and  red — with  which  it  was  originally  painted.  Figure 
4s,  a sixteenth-century  piece,  is  in  wood,  and  represents  the  Virgin  and  Child.  It 
was  originally  placed  in  a niche  outside  of  a church,  and  was  so  long  exposed  to  the 
elements  as  to  be  almost  the  colour  of  stone.  Figure  46J  presents  a pefriii  or  kneading- 
trough;  above  it  is  the  pjiictierc  or  bread-basket.  The  nuie  or  pctriii  is  spoken  of  as 


FIG.  36--FIQURE  REPRESENTING  CARVED  FIGURE  REPRESENTING  A PROPHET 

SAINTE  VERONICA  French,  Sixteenth-Century 

A Crude  Carving  of  the  Fourteenth 
Century 


CARVED  FIGURE  OF  SAINT  JOHN  THE  BAPTIST 
French,  Sixteenth-Century 


early  as  the  year  1389  in  the  inventory  of  the  Chateau  de  Port-Mars,  '' Mobilier  gar- 
nissjHt  Ic  four,  mu  iiuyt  u pctrijf  The  word  panetierc  originally  signified  a game 
bag,  but  afterwards  came  to  mean  this  sort  of  wooden  bread-basket.  The  poet  Ron- 
sard,  it  may  be  said  by  tlie  way,  in  his  Cluut  pjstorul,  apropos  of  the  marriage  of 
Claude  de  France,  daughter  of  Henri  IF,  with  the  Due  Charles  de  Lorraine  (1587), 

addressing  the  latter  v/rote: 

“"Appollou  flit  berger  et  le  Troyen  Paris; 

Ei  le  jeiiiie  ainonreiix  de  Pen  us,  Adonis, 

Aiiisi  qite  toy,  portoit  an  fane  la  panetiere 
Fd par  les  bois  soiiiia  I’ amour  d’liiie  bergere/’ 

Another  quaint  old  country  piece  is  the  fountain  (Figure  47)  in  ctciiii  or  pewter, 


39 


FIG.  38.- CARVED  PILASTER 
Frciicli,  L;ite  ScvciUcintli-Ceiitiiry 


^be  ^Talbot  3.  ^a\?lor  Collection 


with  a small  figure  ou  the  to’p.  T his  is  mounted  on  a simple  stand  of  beechwood. 

Figure  48  represents  a tall 
dock,  beantifully  carved. 
The  original  movement  is 
still  in  it,  and  it  bears  the 
name  of  the  maker,  Le  Tel- 
lier.  It  is  one  of  two  clocks 
ofthiskindin  Mr.  Taylor’s 
collection,  the  other,  in  the 
great  Hall,  being  signed  by 
Leree  of  Breccy  (see  Figure 
49)- 

Beyond  the  dining- 
room is  the  library  which  is 
of  truly  magnificent  dimen- 
sions, and,  although  at  the 
extreme  end  of  the  house, 
its  real  centre.  High  mul- 
lioned  windows,  with  an 
occasional  door  leading  out 
on  the  terraces,  break  the 
monotony  of  the  bookcases 
which  line  one  side  of  the 
room  and  contain  all  the 
modern  books  of  Mr.  Tay- 
lor’s collection, — over  two 
thousand  volumes.  Direct- 
ly opposite  are  cases,  form- 
ing a succession  of  vifriiies 
containing  a very  interest- 
ing collection  of  old  bind- 
ings, early  examples  of 
printing,  and  manuscripts 
on  vellnm,  signed  succes- 
sively by  kings  of  France,  in  an  almost  uninterrupted  line,  from  Louis  XL  to  the  un- 
fortunate Louis  XVL  The  Taylor  Collection  possesses  also  many  bindings  that  are 


FIQ.  39— CARVED  FIGURE  REPRESENTING  A BISHOP 
French,  Sixteenth-Century 


THE  DINING-ROOM 
View  from  the  Hall 


42 


tibe  Talbot  3.  ^av’lor  Collection 


interesting  and  valuable  not  only  for  their  beauty  but  for  their  historical  associations. 

There  can  be  no  doubt  that  the  prac- 
tice of  binding  books  had  its  origin  in 
the  desire  to  protect  them,  but  what  was 
once  regarded  as  a work  of  necessity 
developed  into  a great  luxury.  The  art 
of  applying  gold  ornament  to  leathers 
is  of  unknown  antiquity,  but  we  have 
proof  that  it  v^as  practised  in  Ancient 
Egypt.  Aldus  Manutius,  the  celebrated 
Venetian  printer,  was  the  first,  however, 
to  apply  decorative  art  of  the  highest 
character  to  book-binding.  From  Italy 
the  art  spread  to  France  where  it 
reached  its  acme.  The  saying.  La  re- 
liiirc  est  iiii  art  tout  fraiifais,  is  not 
without  foundation,  for  the  French  soon 
abandoned  the  Italian  treatment  and 
struck  out  a line  for  themselves.  It 
was  that  lover  of  all  the  arts,  Francis 
1.,  who  first  introduced  the  mania  for 
book-bindings  in  France.  He  was  a 
friend  and  a great  admirer  of  the  cele- 
brated Jean  Grolier  de  Servin,  Vicomte 
d’Aiguise,  and  they  both  collected  ex- 
tensively books  printed  by  the  Venetian, 
Aldus.  Francis  was  the  first  French- 
man to  adopt  a device  to  ornament  his 
bindings,  and  this  fancy  for  decorating 
the  covers  of  books  with  the  arms  or 
monogram  of  the  owner  became  very 
FIG  40— CARVED  BRACKET  OF  THE  GOTHIC  PERIOD  geiieial.  Tlieie  liave  beeu  many  nota- 

ble collections  made  in  France  by  kings,  ministers,  and  authors.  Henri  11.  owned  a 
number  of  beautiful  bindings,  as  did  his  wife,  Catherine  de  Medici,  and  also  Diane  de  Poit- 
iers. The  Cardinals  Richelieu  and  Mazarin  were  both  collectors  of  note,  so  also  were 


THE  DINING  ROOM 
View  from  the  Library. 


44 


Z\K  Clalbot  3.  ^a^lor  Collectioit 


Charles  Louis  Fouquet  and  Jean  Baptiste  Colbert.  Louis  XIV.  had  a fancy  for  books  and 
sprinkled  his  covers  with  fleiirs  dc  lys  and  the  Royal  Crown.  There  is  a hook  of  songs 
which  belonged  to  him  in  the  library  at  Talbot  House.  There,  also,  are  two  books  with 

Mazarin’s  arms  decorating  their  covers. 
Mr.  Taylor  possesses,  too,  four  books 
from  Colbert’s  library,  ornamented  with 
his  device,  an  adder  on  a shield  sur- 
mounted by  a crown.  Three  of  these 
four  works  are  Bibles,  and  it  is  in- 
teresting to  note  that  the  one  bound 
when  he  was  a simple  5c/4v/c//r  living  on 
his  small  estate  in  the  country,  is  com- 
paratively plain  although  decorated  with 
his  arms  on  the  front  and  back  covers. 
The  second  volume  was  bound  when 
Colbert  was  first  called  to  the  Ministry, 
and  is  more  pretentious,  being  orna- 
mented not  only  with  his  arms,  but  the 
chiffre,  J.  B.  C.,  on  the  back.  The  third 
volume  is  adorned  with  the  arms,  and 
with  the  c'hiffre  on  the  back  and  in  the 
four  corners  of  both  sides  ; it  was  bound 
after  Colbert  had  become  successively 
Prime  Minister,  Treasurer  of  the  King- 
dom, and  favourite  of  the  King. 

There  are  so  many  rare  books  in 
this  collection  that  a separate  volume 
might  well  be  devoted  to  them.  We 
can  only  mention,  and  reproduce  in  the 
illustrations,  a very  few,  to  give  a slight 
idea  of  the  treasures  of  which  this  room 
is  the  repository. 

The  great  tl replace  in  the  library  is  of  severe  simplicity.  Before  this  stands  a 
beautifully  carved  altar  rail  of  the  seventeenth  century  (Figure  50)  with  an  angel  at 
either  end.  This  piece  is  particularly  effective  where  it  is  placed,  for  it  serves  as  a 


FIQ.  41.— STONE  MANTEL  OF  THE  RENAISSANCE  PERIOD 


FIG.  44.— STONE  STATUE  IN  POLYCHROME 
French,  Late  Fifteenth-Century 


FIG.  42 


FIGS.  42  AND  43.  — TWO  COLUMNS  IN  POLYCHROME 
Spanish,  Seventeenth-Century 


fig.  43 


46 


tLbe  Talbot  % ^ai^Ior  Collection 


fender,  while  the  angels  seem  to  be  guardians  of  the  fireside.  The  centre  of  the 
: room  is  filled  by  three  immense 
i tables.  That  in  Figure  5 1 is  massive 
I in  its  simplicity  of  rugged  elm  ; it 
I is  of  sixteenth-century  workman- 
1 ship,  as  is  also  the  octagonal  table 
I in  Figure  52.  The  table  in  Figure 
I 53  is  Louis  XIV.  — an  ornate 
piece,  with  twisted  legs,  and  an 
elaborately  carved  stretcher. 

It  was  in  the  sixteenth  century 
that  tables  became  more  general 
as  complete  articles  of  furniture 
made  of  wood,  and  carved  and 
inlaid.  In  the  fifteenth  century 
with  few  exceptions  the  table  for 
meals  had  consisted  of  an  arrange- 
ment of  boards  and  trestles,  and 
we  have  a reminiscence  of  this 
moveable  kind  of  table  in  the  still 
common  expression  “ a seat  at  the 
board.” 

A table  which  seems  to  have 
been  introduced  during  the  first 
half  of  the  seventeenth  century  is 
the  ‘‘drawinge  table,”  which  was 
oblong  in  shape,  with  a flap  pull- 
ing out  from  either  end  to  make 
its  length  greater.  By  an  ingenious 
contrivance,  its  centre  or  main  top 
was  lowered  and  the  Haps  came 
to  the  new  level  so  that  the 
whole  area  was  then  of  the  same  French, sixtcemh-cent„ry 

height.  There  are  three  examples  of  the  drawinge  table  in  the  Talbot  House  col- 
lection (Figures  54  and  55). 


FIQ.  463.— PETRIN  OR  KNEADING-TROUGH 


ZTbe  tTalbot  3.  ^a\>Ior  Collection 


49 


The  chairs  in  the  library  are  of  great  variety  and  number.  Many  of  these  are 
covered  in  old  Cordoue  leather,  a 
material  little  known  in  America,  but 
very  much  appreciated  and  sought 
after  in  France,  where  little  genuine 
Cordoue  is  now  to  be  had.  The  best 
evidence  of  this  is  that  the  Cluny 
Museum  only  possesses  a few  scraps 
of  it  which  are  listened  on  the  wall. 

This  leather  was  extensively  used 
during  the  fourteenth  and  fifteenth 
centuries  as  a wall  covering  and  even 
sometimes  for  rugs  on  the  floor.  Later 
on  when  walls  began  to  be  panelled 
in  wood,  this  material,  like  the  ver- 
dure tapestry,  was  utilised  for  cover- 
ing furniture,  and  in  the  number  of 
its  examples  of  chairs  upholstered  in 
genuine  old  Cordoue,  Talbot  House  is 
perhaps  unique. 

The  two  arm-chairs  in  Figure  s6 
are  of  the  Louis  Xlll.  period  and 
covered  in  this  old  leather.  That  on 
the  left  is  a particularly  fine  specimen 
as  the  scrolls  and  flowers  are  in  high 
relief  from  the  gold  background.  The 
chair  on  the  right  is  very  original 
because  of  the  picture  on  the  back 
which  represents  a priest  clad  in  his 
robes. 

During  the  reign  of  Louis  Treize, 
furniture  became  more  comfortable 
and  there  was  more  variety.  The 
chairs  were  high-backed  and  were 
made  with  arms,  the  legs  and  stretchers  were  visible  and  were  of  oak  or  walnut  wood 


FIQ.49-TALL  CLOCK  SIGNED  LEREE  OF  BRECCY 


FIQ.  48.— TALL  CLOCK  SIGNED  LE  TELLIER 


5° 


TABLE  OF  THE  LOUIS  XIV  PERIOD 


FIQ.  50.— CARVED  ALTAR  RAILING  OF  THE  SEVENTEENTH  CENTURY,  FRENCH 


51 


FIG.  51.— SIXTEENTH-CENTURY  TABLE  IN  ELM 


FIG.  52.— OCTAGONAL  SHAPE  TABLE  IN  ELM 

Sixteenth-Century 


52 


FIG.  53— CARVED  WALNUT  TABLE  OF  THE  LOUIS  XIV  PERIOD 


JACOBEAN  TABLE 


53 


FIQ.  54.— "DRAWINGE  TABLE”,  PERIOD  OF  LOUIS  XIV 


FIG.  55.-“DRAWINGE  TABLE” 


Early  Seventeenth-Century 


54 


THE  LIBRARY 
View  from  the  Gallery 


THE  LIBRARY 
Looking  towards  the  Gallery 


57 


MOROCCO  BINDING  WITH  THC  ARMS  AND  CHIFFRE  OF  COLBERT 


ITALIAN  BINDING  OF  THE  SIXTEEN  I H CENTURY 


^be  Talbot  3.  ^aplor  Collection 


59 


— the  high  backs  and  seats  upholstered.  The  word  chaise  as  a diminutive  oichaire 
found  its  way  into  the  French  vocabulary  to  denote  a less  throne-like  seat  than  that 
of  the  type  which  had  been  in  use  up  to  this  time. 

The  hergere  in  Figure  57  is  of  the  Louis  XIV.  period,  upholstered  in  old  Cordoue 
and  studded  with  copper  nails.  It  is  interesting  to  notice  the  ditference  m the  angle 


PRAYER-BOOK  OF  HENRIETTE,  DUCHESSE  D’  ORLEANS,  SISTER  OF 
CHARLES  II 


of  the  backs  of  the  chairs  in  Figure  s8.  That  on  the  left  was  made  for  an  older 
person  who  must  necessarily  sit  upright  and  have  the  back  supported,  while  the  back 
of  the  chair  on  the  right  slants  perceptibly  so  as  to  allow  the  person  using  it  a more 
reclining  attitude. 

The  high-backed  divan  (Figure  so)  of  the  Louis  XIV.  period  has  carved  legs  and 
stretcher  and  is  upholstered  in  tapestry  an  point  of  the  period.  This  tapestry  was 
the  production  of  the  needles  of  the  ladies  of  that  time  and  filled  in  many  weary 
hours  for  the  chateiaine  and  her  bower  maidens  while  my  I.ord  was  away  at  the 


A SEVENTEENTH-CENTURY  ITALIAN  BINDING,  WITH  ARMS  OF  A CARDINAL 


ITALIAN  BINDING,  EARLY  SEVENTEENTH-CENTURY, 'WITH  THE  ARMS  OF  A CARDINAL 


6t 


FIG.  57.— CHAISE  BERGERE  OF  THE  LOUIS  XIV  PERIOD,  COVERED  IN  OLD  CORDOUE  LEATHER  SIDE  CHAIR  OF  THE  LOUIS  XIII  PERIOD,  COVERED  IN  OLD  CORDOUE 

6,  LEATHER 


ARM-CHAIftS  OF  THE  LOUIS  XIII  PERIOD,  COVERED  IN  OLD  CORDOUE  LEATHER 


ARM-CHAIR  OF  THE  LOUIS  XIII  PERIOD,  COVERED  IN  OLD  CORDOUE  LEATHER  ARM-CHAIR  OF  THE  LOUIS  XIV  PERIOD,  COVERED  IN  OLD  CORDOUE  LEATHER 


FIQ.  59.— DIVAN  OF  THE  LOUIS  XIV  PERIOD,  COVERED  IN  TAPESTRY  AU  POINT 


66 


FIQ.  60.— CHAISE  LONGUE  OF  THE  LOUIS  XIV  PERIOD,  COVERED  IN  TAPESTRY  AU  POINT 


^be  Talbot  3.  CoUection 


67 


wars.  The  persomugcs  in  the  design  of  this  piece  are  particularly  interesting  as  they 
are  in  the  costumes  of  that  day. 

Another  piece  covered  in  the  tapestry  Jii point  is  the  chaise  longue  ( Figure  60).  It  is 
exciuisitely  carved  and  studded  with  copper  nails.  The  chaise  tongue  was  an  innova- 
tion during  the  reign  of  Louis  XIV.,  but  such  early  examples  are  rare,  as  they  were  not 
in  general  use  before  the  time  of  Louis  XV.  This  collection  possesses  another  reclin- 
ing chair  of  so  rare  a kind  that  few  indeed  are  the  museums  which  have  been  able  to 


FIG.  61.-  CHAISE  LONGUE 
Flemish,  Seventeenth-Century 


secure  one.  We  refer  to  that  shown  in  Figure  61,  which  is  of  Flemish  construction 
of  the  seventeenth  century  with  the  design  of  two  cupids  in  a Hying  attitude  support- 
ing a crown  surmounting  the  back,  and  a similar  design  enriching  the  stretcher.  This 
chaise  longue  was  imported  into  Fngland  at  the  time  of  Charles  11.  when  the  chairs  of 
the  same  kind  of  which  we  have  before  spoken  were  so  much  iu  vogue  with  everyone 
rich  enough  to  afford  them,  'fhose  in  Figure  02  are  further  examples  of  these 
chairs.  That  on  the  left,  in  Figure  represents  one  that  was  made  for  the  King 
himself,  Charles  11.  Figure  04  represents  an  exquisitely  carved  desk  chair  of  the 
Louis  XIV.  period,  the  back  and  seat  are  of  stretched  leather  stiulded  with  heavy 


OJ 

iO 


FLEMISH  CHAIRS  OF  THE  SEVENTEENTH  CENTURY 


FLEMISH  CHAIRS  OF  THE  SEVENTEENTH  CENTURY 


FIG.  64.-  DESK  CHAIR  OF  THE  LOUIS  XIV  PERIOD  FIG.  65.— SIDE  CHAIR  IN  MARQUETEPIE,  PERIOD  OF 

LOUS  XIII 


FIQ.  67— OAK  TABLE  OF  THE  LOUIS  XIV  PERIOD 


FIQ-  66.— DIVAN  OF  THE  LOUIS  XIV  PERIOD,  WITH  LOOSE  CUSHION 


V 


12  (Tbe  tlalbot  3.  <Ia\>Ior  Collection 

copper  nails.  The  chair  in  Figure  os  is  of  tlie  Louis  Xlll.  period  with  marqueterie 
rich  in  tone. 

There  is  a second  divan  in  this  room  (Figure  60)  which  is  of  the  l.ouis  XIV. 
period  also,  but  smaller  than  that  in  Figure  59.  The  form  of  the  turned  legs  and 
stretcher  is  particularly  pure  in  style  and  resembles  greatly  the  general  lines  of  the 
table  in  Figure  07  which  was  made  about  the  same  time. 

The  trousseau  chest  in  Figure  08  is  of  the  seventeenth  century,  covered  in  leather 
and  studded  all  over  with  copper  nails,  which  form  an  ornamental  design.  The 


FIQ.  68.— TROUSSEAU  CHEST  COVERED  IN  LEATHER  AND  STUDDED  WITH  COPPER  NAILS 
French,  Seventeenth-Century 


lining  on  the  inside  of  this  chest  is  in  a wonderful  state  of  preservation,  being  the 
toilc  of  the  period,  and  so  interesting  and  beautiful  in  itself  that  Mr.  Taylor  has  been 
advised  by  experts  to  take  it  out  and  frame  it.  But  the  chest  is  so  complete  that  to 
mutilate  it  in  any  way  would  seem  an  act  of  vandalism.  Chests  are  among  the  oldest 
known  pieces  of  furniture.  Tfiey  were  used  in  medieval  times  as  seats  by  day  and 
beds  by  night.  And  as  receptacles  for  miscellaneons  articles  they  have  been  used  in 
all  the  ages  of  the  world.  Marriage  chests  were  more  or  less  elaborately  decorated. 
The  amount  of  linen  that  a bride  took  in  them  to  her  husband  represented  as  a rule 
the  greater  part  of  her  dowry. 


Zhc  ^lalbot  3.  tCa^lor  Collection 


73 


In  Figure  69  we  see  a coffre  fort,  or  strongbox,  of  the  sixteenth  century  — a 
very  fine  specimen,  the  lock  so  intricate  and  the  plate  so  finely  engraved  as  to  be  of 
great  interest  to  the  modern  student  of  old  iron  and  steel  work  of  which  in  late  years 
there  have  been  many  collectors.  The  strong  box  served  as  a safeguard  for  valu- 
ables at  a time  when  the  modern,  burglar-proof  safe  had  not  been  invented.  In 


FIQ.  69.— STRONG  BOX 
French,  Sixteenth-Century 


an  inventory  of  some  of  Charles  V.’s  effects,  dated  1380,  there  is  mention  of  a coffrc 
fort  which  he  took  with  him  on  all  his  travels,  and  of  which  he,  himself,  always  kept 
the  key.  The  strong  box  in  this  collection  is  almost  identical  with  one  in  the  Musee 
de  Cluny,  sotte  dc  hi  Ferromicric.  The  small  coffret  in  old  red  morocco  (Figure  70), 
beautifully  tooled  and  containing  three  small  drawers  on  the  inside  is  a very  tine 
specimen  of  seventeenth-century  leather  work. 

There  is  a gallery  overlooking  the  library  in  Talbot  House,  and  this  is  furnished 


FIG,  70.—COFFRET  IN  OLD  RED  MOROCCO  WITH  GOLD  TOOLING 
French,  Seventeenth-Century 


FI3.  71-BANQUETTE  OF  THE  LOUIS  XIII  PERIOD,  COVERED  IN  OLD  CORDOUE  LEATHER 


74 


F'rench,  Sixteenth-Century 


CARVED  PANELS— THE  EVANGELISTS 


CARVED  PANELS— THE  EVANGELISTS 


and  waterfalls,  with  a number  of  pcrsounjges  in  the  costume  of  that  day, — a most 
interesting  and  unique  affair.  It  is  impossible  to  reproduce  a picture  that  will  do 
justice  to  its  beauty,  as  the  painting  has  been  so  darkened  by  age. 

The  four  panel  medallions  (Figure  71)  are  beautifully  carved  in  wood.  The 
heads,  which  are  in  high  relief,  represent  the  four  Evangelists.  Figure  74  shows  a 
carved  panel,  also  in  high  relief,  in  the  centre  of  which  is  set  forth  the  Blessing  of  the 
Bread  at  the  at  the  Last  Supper.  In  the  four  corners  are  the  emblems  of  the  four  Evangel- 
ists enclosing  the  wheat  and  the  grape  vines,  which  signify  Plenty.  These  panels 
were  removed  from  a monastery  chapel  during  the  late  religious  upheaval  in  France, 
and  have,  by  some  experts,  been  pronounced  Gothic,  although  there  is  a difference 
of  opinion  on  the  subject. 


78  ^Ibc  {Talbot  3.  {Ta\>lor  Collection 

with  a number  of  benches  (Figure  71)  of  the  Louis  Xlll.  period,  which  are  beautiful 
examples  of  this  style  at  its  purest  and  best.  These  benches  are  uoholstered  in  old 
Cordoue,  and  studded  with  nails. 

Figure  72  is  a screen  of  six  panels  painted  on  canvas  by  Bourguignon  in  the 
sixteenth  century,  each  panel  forming  part  of  a continued  landscape  panorama  repre- 
senting a chateau  of  the  period  with  formal  gardens  and  fountains,  trees  and  streams 


FIQ.  74  — CARVED  PANEL  REPRESENTING  THE  BLESSING  OF  THE  BREAD,  WITH  EMBLEMS  OF  THE  EVANGELISTS  IN  THE  FOUR  CORNERS 


sign  of  grape  vines  and  birds.  Tliis  has  been  utilised  as  a base  to  support  the  massive 
and  beautiful  statue  (Figure  77)  representing  Ste.  Anne  and  the  child  Virgin,  one  of  the 
choicest  gems  of  the  collection.  This  carving,  pronounced  a work  of  the  sixteenth 
century,  could,  in  its  way,  hardly  be  lovelier.  There  is  a wonderful  strength  and 
piety  revealed  in  the  attitude  of  the  figure  of  Ste.  Anne  as  she  points  with  one  hand 
towards  Heaven,  her  face  soltened  a little  by  the  tenderness  of  the  mother,  while 


Fia.  75.— CARVED  PANEL  REPRESENTING  THE  MATER  DOLOROSA 


^be  tTalbot  3.  ^a^Ior  Collection  79 

The  panel  representing  the  Mater  Dolorosa  (Figure  75)  is  of  a later  period,  as  the 
ornamentation  which  frames  it  conclusively  shows.  The  face,  hand  and  veil  are, 
however,  of  such  beauty  and  strength  as  to  suggest  very  early  work. 

The  tabernacle  in  Figure  76  is  beautifully  carved  with  cherubs’  heads  and  a de- 


8o 


Talbot  3.  Collection 


with  the  other  liand  slie  caresses  the  tiny  ligure  of  the  female  cliild  who  was  destined 
to  become  the  Mother  of  God. 

The  Virgin  in  the  Temple  (Figure  78)  is  of  sixteenth-century  workmanship,  as 
are  also  the  ligures  of  Moses  writing  on  the  tablets  (Figure  79),  and  the  Pope  (Figure 
80).  This  IMpe  was  one  of  the  Avignon  pontiffs  who  held  the  chair  of  St.  Peter  at 
the  time  when  the  Church  was  obliged  temporarily  to  take  refuge  in  France.  This 
collection  possesses  three  statues  of  popes  — this  one;  that  before  referred  to  as  of 
lifteenth-century  workmanship  (Figure  32  ; and 
the  bust,  a sixteenth-century  carving,  shown  in 
Figure  81.  The  two  bishops  ( Figure  82)  are  of 
the  sixteenth  century,  and  the  bust  of  a woman 
saint  (Figure  83)  holding  in  one  hand  a book,  is 
of  the  same  epoch.  The  pieta  ( Figure  84)  of  the 
fourteenth  century  is  a fine  exainple  of  the  Gothic 
treatment  of  this  subiect.  There  are  two  other 
pietas  in  the  cabinet  in  the  drawing-room  (Figure 
14),  which  are  also  Gothic,  and  it  is  interesting 
to  notice  the  extraordinary  disproportion  in  the 
size  of  the  two  tigures.  But,  notwithstanding 
their  crudenesses,  these  primitive  carvings  pos- 
sess a power  that  is  almost  startling.  One  can 
imagine  the  blind  faith  and  devotion  that  inspired  such  work,  since  it  still  has,  even 
in  our  twentieth  century,  this  deep,  religious  charm. 

Another  fourteenth-century  carving,  shown  in  Figure  8s,  represents  the  cruci- 
lixion.  The  figure  of  the  Christ  is  absolutely  without  restoration,  but  unfortunately 
it  has  been  taken  from  its  original  cross,  and  it  now  hangs  upon  a modern 
one  which  is  not  entirely  appropriate,  but  which  serves  temporarily.  The  South 
Kensington  Museum  in  London  possesses  two  crosses  which  have  been  deprived 
of  the  figures  that  were  originally  upon  them.  The  vandals  through  whose 
hands  these  carvings  passed  hoped  for  more  pecuniary  profit  by  separating 
them  and  selling  them  apart.  In  the  gallery  of  the  Louvre  in  Paris  there  are 
three  ligures  of  Christ,  which  have  been  temporarily  fastened  to  modern  crosses  in 
this  way. 

It  is  impossible,  in  the  space  at  disposal,  to  enumerate  the  quantities  of  figures  in 
wood-carving  contained  in  Talbot  House,  and  we  have  endeavoured  to  comment 


FIQ.  76.-CARVED  TABERNACLE 
French,  Seventeenth-Century 


FIG.  77-— CARVED  STATUE  REPRESENTING  STE.  ANNE  AND  THE  CHILD  VIRGIN 
French,  Sixtccnlh-Centiiry 


8i 


FIG.  78.— CARVED  FIGURE  REPRESENTING  THE  FIG.  79. — CARVED  FIGURE  REPRESENTING  MOSES  FIG.  80.-CARVED  FIGURE  REPRESENTING  A POPE 

VIRGIN  IN  THE  TEMPLE  WRITING  ON  THE  TABLETS  French,  Sixteenth-Century 

French,  Sixteenth-Century  French,  Sixteenth-Century 


CARVED  LECTERN 
French,  Seven tceiuh-Century 


84 


Zbc  Talbot  3.  ^a^lor  Collection 


only  upon  those  which,  in  our  opinion,  merit  particular  mention  as  examples  of  the 
styles  that  distinguished  the  different  epochs. 

In  the  dark  ages  and  in  mediaval  times,  the  talent  of  the  carver  was  required 
more  for  the  embellishment  of  the  churches  than  for  the  adornment  of  houses, 
which  were  for  the  most  part  of  severe  simplicity.  Then  it  was  the  Church  that  pre- 
served the  arts,  which,  after  the  downfall  of  Rome,  threatened  to  become  extinct.  In 
the  monasteries,  learning  was  kept  alive  and  art  was  fostered  until  the  outside  world 
had  readjusted  itself  and  was  again  ready  to  encourage  the  production  of  the 
beautiful. 

Before  passing  from  the  library  to  the  raised  gallery  which  overlooks  it,  attention 
should  be  called  to  the  live  old  silver  sanctuary 
lamps  that  hang  from  the  panelled  ceiling,  and  to  a 
number  of  other  lamps,  all  of  them  originally  old 
carved  Church  candlesticks,  arranged  for  electricity, 
and  shaded  by  jbjts-Joiirs  made  of  ecclesiastical 
laces  and  embroideries. 

A number  of  stained-glass  windows  taken  from 
a convent  chapel  soften  the  sun-light  that  pours 
into  this  room  and  suggest  thoughts  of  other  cent- 
uries, for  these  windows  date  from  the  days  when 
Saint  Louis  held  the  throne  of  France,  and  they  are 
no  less  beautiful  than  those  in  that  King’s  Sainte 
Chap  die. 

Mounting  the  few  steps  that  lead  to  the  gallery,  we  ascend  from  there  a wide 
staircase  leading  to  the  second  lloor,  and  arrive  in  the  Louis  XIV.  upper  gallery, 
which  is  one  of  the  features  of  the  house.  It  is  one  hundred  and  twenty  feet  long, 
with  a number  of  turns  wliich  break  the  monotony,  and  were  inevitable  from  the 
irregular,  rambling  plan  of  the  house. 

The  walls  in  this  gallery  are  panelled  and  hung  with  yellow  damask  ; the  lights 
are  facsimilies  of  those  in  the  Grand  Palais  at  Versailles.  Along  the  entire  length  at 
regular  intervals  are  placed  banquettes  or  benches  (Figure  S6),  the  exquisitely  carved 
legs  and  stretchers  of  which  are  of  the  inimitable  colour  that  only  time  can  give. 
This  series  of  benches  of  the  purest  Louis  XIV.  type  was  in  an  old  Hotel  de  Ville 
in  a provincial  town  in  France,  and  it  was  by  the  rarest  luck  that  Mr.  Taylor  secured 
the  full  set. 


FIG.  81.— CARVED  BUST  OF  A POPE 
French,  Sixteenth-Century 


FIG.  82  FIG.  82a 

FIGS.  82,  823.— CARVED  FIGURES  REPRESENTING  BISHOPS 
French,  Sixteenth-Century 


BUST  OF  BISHOP  FORMING  RELIQUARY— DECORATED  IN 
POLYCHROME 
Spanish,  Sixteenth-Century 


83 


FIG-  S3.  — CARVED  BUST 
French^  Sixteenth-Century 


FIG  84.  CARVED  PIET^^ 
Kren Fouriccnili-Century 


86 


FIG.  85.— CARVED  FIGURE  OF  CHRIST 
French,  Fourteenth-Century 
(The  cross  is  of  a later  period) 


R? 


THE  LOUIS  XIV  UPPER  GALLERY 


THE  SOUTH-EAST  BEDROOM  OF  THE  MASTERS’  SUITE 


NORTH-WEST  BEDROOM  OF  THE  MASTERS’  SUITE 


go 


^be  ^Talbot  3.  ^Ia\>lor  Collection 


At  the  farther  end  of  the  gallery  is  the  Masters’  suite  consisting  of  two  bedrooms 
and  a boudoir.  The  bedrooms  are  very  quaint  in  shape  because  of  the  gables  and 
dormers  in  the  roof.  Both  are  panelled  and  painted,  and  hung  with  verdure  tapestry, 
d'he  beds  are  four-posters.  That  in  Figure  87  is  especially  interesting  as  it  is  composed 
of  pure  Gothic  panels  and  was  originally  a judge’s  tribunal,  the  head-board  having 
been  the  high-backed  seat,  and  the  foot-board  the  railing  dividing  the  justice  from  the 
person  on  trial.  The  shape  of  the  piece  adapted  itself  very  readily  to  its  present  use 
and  shows  to  advantage  the  exquisite  carving. 


FIG.  86.-BANQUETTE  OR  BENCH  OF  THE  LOUIS  XIV  PERIOD 


Of  the  oldest  complete  beds  still  in  existence  there  are  in  France  some  of  the 
time  of  Francis  1.,  while  in  England  a few  still  remain  that  were  made  during  the 
reign  of  Elizabeth.  The  curtains  and  hangings  of  such  beds,  which  we  regard  as 
ornaments,  were  at  that  time  used  for  protection  from  the  draughts  which  wandered 
through  the  tapestry-hung  rooms,  for  the  windows  were  as  a rule  unglazed.  The 
substitutes  for  glass,  which  was  considered  a luxury,  were  shaved  horn,  parchment 
and  sometimes  mica  let  into  the  sliutters  which  enclosed  the  window-opening.  At 
best  in  many  a castle  but  one  bed  would  be  found,  and  that  belonged  to  the  lord  and 
lady,  the  rest  of  the  family  taking  their  rest  on  rugs  or  cushions  on  the  Boor,  or  on 
chests,  or  even  on  tables.  It  is  difficult  for  us  to  imagine  the  discomforts  to  which 
our  forefathers  were  accustomed, — a state  of  things  which  the  study  ot  turnituie 
impresses  indelibly  upon  our  minds. 


FIG.  87.— FOUR-POSTER  BED  WITH  GOTHIC  PANELS 


91 


92 


Z\K  ^Talbot  3.  zrav’lor  Collection 


The  four-poster  bed  (Figure  88)  of  the  Louis  XIV.  period  is  much  carved  and  has 
a design  of  birds  and  tlowers  on  the  head-board.  These  two  bedrooms  are  fur- 
nished entirely  with  good  old  pieces  of  carved  oak  and  walnut.  The  'Normandy 


FIG.  88.— CARVED  FOUR-POSTER  BED  OF  THE  LOUIS  XIV  PERIOD 

aniioire  (Figure  8o)  is  exciuisitely  carved.  It  is  singular  that  of  all  the  provinces  of 
France  it  was  Normandy  that  most  speedily  adopted  the  new  fashions  in  designs  set 
by  the  Court,  the  Rouen  carvers  and  joiners  becoming  quite  famous  for  their  work; 
and  it  is  for  this  reason  that  the  furniture  made  in  Normandy  during  the  reigns  of 
Louis  XIV.,  l.OLiis  XV.,  and  Louis  XVI.  is  extremely  tine  in  line  and  ornamentation. 


COMMODE  OF  THE  LOUIS  XIV  PERIOD 


COMMODE  OF  THE  LOUIS  XIV  FERIOD 


FIG.  89.-CARVED  OAK  ARMOIRE 
Made  in  Normandy,  Eighteenth  Century' 


94 


TABLE  OF  THE  LOUIS  XIV  PERIOD 


FIG.  90— CURTAINS  IN  TOILE  DE  JOUY 


THE  BOUDOIR  OF  THE  MASTERS'  SUITE 


oS 


^be  tialbot  3.  ^av^Ior  Collection 


The  curtains  (Fi<>:ure  no)  witli  winch  these  bedrooms  are  hung  are  of  genuine  old 
toilc  dc  fony  with  the  design  in  red  on  a white  ground.  This  printed  linen  came  into 
vogue,  especially  for  country  houses,  during  the  reign  of  Louis  XVI.  It  was  some- 
times used  to  cover  rjuite  elaborate  sets  for  salons  and  bedrooms  in  Paris  itself.  In 
the  record  of  sales  at  auction  in  the  year  17S4,  mention  is  made  of  a house  where 
here  were  " djiis  ////  boudoir,  11 11  i\wjpc,  qiiatrc  ptdits  fji/fo/iils,  cd  deux  chaises  en 


FIG.  91.— CARVED  CONSOLE  TABLE  OF  THE  LOUIS  X I.  PERIOD 

toile  de  Joiiy.”  We  have  for  a long  time  associated  with  the  name  ot  this  stamped 
linen  all  the  cotton  Librics  marked  with  these  well  known  designs.  But  the  genuine 
toile  de  foiiy  was  of  linen,  and  was  manufactured  by  the  celebrated  Oberkampf,  a 
Bavarian  by  birth,  who  went  to  France  at  the  age  of  nineteen  with  a capital  of  six 
hundred  francs,  bought  an  old  abandoned  ruin,  and  started  his  factory  in  the  town  of 
joLiy.  He  himself  was  the  artist,  engraver,  and  dyer  combined,  and  his  success  was 
immediate  and  prodigious.  In  1787  Louis  XVI.  visited  the  kictory  and  so  impressed 
was  he  that  he  wished  to  confer  on  Oberkampf  letters  ot  nobility,  but  the  latter 
declined  to  accept  the  honour. 


•ARM-CHAIR,  P£RIOD  OF  LOUIS  X II,  COVERED  IN  OLD  CORDOUE  LEATHER  ARM-CH£IR,  PERIOD  OF  LOUIS  XIII,  COVERED  IN  OLD  CORDOUE  LEATHE 


ARM-CHAIR,  PERIOD  OF  LOUIS  XIV,  COVERED  IN  FLEMISH  TAPESTRY  ARM-CHAIR,  PERIOD  OF  LOUIS  XIV,  COVERED  IN  FLEMISH  TAPESTRY 


^be  ^Talbot  3,  ^aiplor  Collection 


lOI 


III  1815,  however,  the  Allies,  jealous  of  his  glory,  and  the  English  above  all 
furious  at  his  success,  destroyed  the  Eictory,  and  Oberkampf,  ruined  at  the  age  of 
seventy-seven,  had  not  the  courage  to  recommence,  and  died  of  a broken  heart. 

The  best  known  designs  of  this  celebrated  material  represent  pcrsomugcs  and 
pastoral  scenes,  the  seasons,  etc.,  but  there  were  many  decorated  with  dowers,  the 
colouring  in  these  last-named  designs  being  particularly  clear  and  beautiful.  The 


FIG.  92.-VITRINE  TABLE,  PERIOD  OF  LOUIS  XVI 

Musee  des  Arts  Decoratifs  in  Paris  contains  a large  collection  of  the  original  drawings, 
and  many  of  these  are  being  reproduced  with  great  success. 

The  boudoir  which  connects  with  these  two  bedrooms  is  panelled  and  hung 
with  a collection  of  rare  old  engravings  by  Beauvaiiet,  Gaillard,  Lempereur,  and 
others  of  eighteenth-century  fame.  The  hangings  are  of  red  damask,  and  the  furni- 
ture is  of  the  Louis  XVI.  period  in  oak  and  walnut.  The  console  (Figure  9O  is 
beautifully  carved  and  very  line  in  style.  There  is  one  almost  iulentical  with  this  in 
the  Paris  Musee  des  Arts  Decoratifs.  d'he  vilriiie  table  (Eigure  02)  and  the  low 
screen  (Figure  93)  are  both  good  examples  of  the  work  of  this  epoch. 


Q 

O 

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UJ 

£L 

> 

X 

o 

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uJ 

X 

h- 

li. 

o 

z 

UJ 

UJ 

cc 

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to 


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o> 

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u. 


FIG.  94.  — MINIATURE  WRITING-  DESK  OF  THE  LOUIS  XVI  PERIOD 
IN  BOIS  DE  ROSE 


^be  Talbot  3.  ZTa^Ior  Collection 


103 


former  traditions.  Lalonde  and  Lafosse  were  the  first  to  give  back  to  the  legs  of 
tables  and  seats  the  straight  simple  lines  that  Meissonier  and  Oppenord  had  con- 
torted, so  that  what  has  come  to  be  known  as  the  style  Louis  XVi.  was  really  intro- 
duced towards  the  end  of  the  reign  of  l.ouis  “ le  Bien-Aime.” 

Be  that  as  it  may,  to  Marie  Antoinette  is  given  the  credit  for  innueucing  the 
purity  and  simplicity  of  outline  that  gradually  superseded  all  else,  and  certainly  under 
her  regime  everything  was  of  dainty  elegance  : tables,  chairs,  commodes,  sccrcljircs 


Even  before  the  death  of  Louis  XV.  there  had  commenced  a sort  of  reaction  from 
the  over-abundant  ornamentation  which  had  for  a long  time  been  the  vogue.  This 
change  has  been  attributed  by  some  writers  to  the  discoveries  of  ancient  treasures  in 
Pompeii  and  Herculaneum,  where  excavations  were  being  conducted.  Drawings 
and  frescoes  found  in  these  old  Italian  cities  were  used  to  some  extent  by  the 
draughtsmen  and  designers  of  this  time.  Little  by  little  the  furniture  returned  to  its 


FIG.  95.— MARQUETERIE  COMMODE  OF  THE  LOUIS  XVI  PERIOD,  MADE  AT  A CHATEAU  IN  THE  COUNTRY 


104 


Zbc  Talbot  3.  cTa^lor  Collection 


are  all  exainples  of  the  grace,  the  prettiness,  the  frivolity  that  we  associate  with  het 
personality.  She  disliked  pomp  and  ceremony,  delighted  in  simplicity,  and  took  an 
almost  childish  pleasure  in  the  dairy  of  the  toy  tarm  in  the  gardens  of  the  Little 

Trianon.  It  maybe  that  such  ex- 
cessive simplicity  was  a form  of 
affectation,  for  to  her  the  world  was 
a playground,  and  during  this  reign 
the  necessary  articles  of  furniture 
resembled  toys,  so  diminutive  were 
they.  The  little  bureau  or  writing- 
desk  (Figure  94)  of  bo/s  de  rose  is 
typical  of  that  time.  Pretty,  grace- 
ful, and  utterly  useless,  it  might 
stand  as  a symbol  of  that  elegant 
and  pleasure-loving  court  which 
was  so  soon  to  be  shattered  by  the 
Revolution. 

It  is  often  stated  that,  notwith- 
standing the  vagaries  of  fashion, 
a revival  of  classic  taste  invari- 
ably follows  lapses  into  fanciful 
over-decoration.  At  all  events, 
during  the  reign  of  Louis  XVI. 
architecture,  as  well  as  furniture, 
became  more  simple.  Columns  and 
pilasters  reappeared  in  the  facade  of 
buildings,  curves  and  arches  were 
introduced,  and  broken  scrolls  were 
replaced  by  straight  lines.  In  the 

FIG.  96.-CHIFFONIER  IN  MARQ'JETERIE,  MADE  EARLY  !N  THE  REIGN  OF  LOUIS  XVI  illtei'iOr  deCOratiOll,  tile  iri'egUlar 

panels  enclosed  by  curled  scrolls  gave  way  to  rectangular  panels  and  simpler 
mouldings  and  cornices.  In  the  furniture,  the  cabriole  leg  was  gradually  aban- 
doned for  the  straight  and  tapering  support.  The  backs  of  sofas  and  chairs 
became  either  oval  or  rectangular,  and  were  ornamented  with  a carved  rib- 
bon, often  represented  as  tied  at  the  top  in  a lover’s  knot.  There  are  plen- 


Zbc  Talbot  3,  ^a^Ior  Collection 


105 


tiful  examples  of  tlie  fumiture  of  this  reign  in  the  rooms  on  the  second  lloor  at  Talbot 
House. 

Passing  into  the  blue  suite,  we  first  call  attention  to  the  commode  (Figure  95) 
which  is  a particularly  interesting  specimen.  It  was  made  at  a chateauhn  the  coun- 
try during  the  time  of  Louis  XVI.  The  woods  used  in  the  marqueterie  work  were 
all  taken  from  the  trees  on  the  place.  The  apple  tree,  the  pear,  the  peach,  all  came 
into  service,  with  the  result  that  the  piece  is  extremely  odd  and  original.  Another 


FIG.  97.-CHAISE  BERGERE  OF  THE  LOUIS  XVI  PERIOD 


FIG.  98.  -SIDE  CHAIR,  MADE  LATE  IN  THE  REIGN  OF  LOUIS  XVI 


point  worth  remarking  is  the  fact  that  the  general  lines  are  so  serious,  especially 
those  of  the  feet,  that,  were  it  not  for  the  beautifully  wrought  bronze  mounts,  it  might 
be  thought  to  belong  to  the  reign  of  Louis  XIV.  This,  however,  is  only  another 
instance  of  how  the  provincial  workmen  held  long  and  tenaciously  to  the  lines  of 
earlier  periods  and  were  slow  to  accept  the  fashions  set  at  Court.  The  chiffonier 
(Figure  qo)  is  a very  elegant  example  of  martiueterie  work  of  this  time. 

d'he  fashion  of  (inishing  furniture  in  wliite  paint  instead  of  gold,  wxis  very  popu- 
lar with  Marie  Antoinette  who  affected  this  style  in  her  own  apartments  at  tiie  Little 


FIG.  99.--CONSOLE  TABLE  WITH  TREMEAU  ABOVE,  PERIOD  OF  LOUIS  XVI 


io6 


i°7  FIQ.  100.— LIT  A L»  ANGLAIS  OF  THE  LOUIS  XVI  PERIOD 


A BEDROOM  FURNISHED  IN  THE  LOUIS  XVI  STLYE 


FIG.  101.  ARM-CHAIR  OF  THE  LOUIS  XVI  PERIOD  piG  102.— FIRE-SCREEN  OF  THE  LOUIS  XVI  PERIOD 


A BOUDOIR  FURNISHED  WITH  AN  OLD  LOUIS  XV  SALON  SET 


^be  ^Talbot  3.  ^aplor  CoUcction 


I I I 


it^M 


IsiSii 


WW 


t«i|^:;;;?5i 


that  time  it  was  supposed  to  set  off  to  better  advantage  than  gold  the  picturesque 
gowns  of  the  period. 

The  bcrgere  (Figure  97),  upholstered  in  old  blue  brocade,  is  simple  in  design,  but 
pure  in  style,  while  the  chair  in  Figure  98  displays  in  its  lines  the  tendency  which 
later  on  merged  into  the  form  which  we  know  as  Directoire. 

The  trcmeaii  in  Figure  99  has  been  cut  from  the  wall  where  it  once  formed  a 
panel.  The  lower  part  has  still  the  old  mirror,  while  above  is  the  ciuaint  painting  on 
canvas  set  in  a frame  of  the  carved  ribbon  design  which  was  so  popular.  'I'he  con- 
sole in  the  same  illustration  is  simple,  but  has  very  good  lines.  Both  beds  in  this 
blue  suite  are  genuine  and  of  the  I.ouis  XVI.  period. 

Figure  100  represents  a three-sided  bed  which  is  in  the  dressing-room  of  thegreen 
suite.  This  is  of  the  kind  known  as  a lit  j FAngLiis,  which  commenced  to  be  the 


Trianon.  Carved  chairs  painted  white  were  covered  with  tapestry  from  the  Aubus- 
son.  Gobelin  and  Beauvais  factories,  and  later  with  brocades  from  Lyons.  The 
Lictories  at  this  last  named  place  not  being  so  well  patronised  as  formerly,  the 
Queen  made  an  effort  to  revive  interest  in  them,  and  for  this  reason  ordered  a set  of 
furniture  to  be  upholstered  in  brocade,  with  curtains  and  hangings  to  match.  There 
is  no  daintier  style  of  furnishing  than  this,  which  is  so  essentially  feminine  ; and  at 


FIG.  104.— CANAPE  OR  SOFA  OF  THE  LOUIS  XV  PERIOD 


FIG.  104«.— ARM-CHAIR  OF  THE  LOUIS  XV  PERIOD  FIG.  104<'.-CANAPE  OF  THE  LOUIS  XV  PERIOD 


FIG.  104</.— TABLE  WITH  CANE  TOP,  OF  THE  LOUIS  XV  PERIOD 


113 


A TABLE  OF  THE  LOUIS  XV  PERIOD  IN  BOIS  DE  ROSE,  FORMING  POUDREUSE  AND  WRITING-DESK  COMBINED 


^bc  Talbot  3.  ZTa^lor  Collection 


114 

fashion  about  lyso.  Such  beds  were  upholstered  on  three  sides  and  in  the  daytime 
liad  the  appearance  of  a high  sobi.  An  advertisement,  dated  Paris,  28th  January, 
177  s,  indicates  for  sale  at  the  house  of  M.  Carre,  rue  d’  Enfer,  “ unlit  a 'I  AngLiis  de 
djiius  jjiiiic  foriiLiiif  soplni  ct  jyjnt  7 picds  dc  huge  siir  6 de  long,  la  conchette  en  hois 
de  nojer,  se/ilpte  el  bleu  perre." 

d'he  arm-chair  (Figure  101),  the  fire-screen  (Figure  102)  and  the  tabouret  (Figure 
lOi)  are  all  good  specimens  of  the  Louis  XVI.  period. 

Of  furniture  made  late  in  the  reign  of 
Louis  XV.  when  the  influence  of  Marie  An- 
toinette was  beginning  to  show  itself,  there  is 
a charming  example  in  the  salon  set  (Figures 
104-104"),  consisting  of  two  sofas,  two  arm- 
chairs, two  side  chairs,  and  two  seats  without 
backs.  There  are  also  two  tables.  The  carv- 
ing and  cane  work  on  the  backs  and  seats  of 
the  sofas  and  chairs  and  on  the  tops  of  the 
tables  is  of  the  old  gilding,  while  the  rest  of 
the  woodwork  is  in  the  original  ivory-toned 
paint.  The  seats  are  provided  with  loose 
cushions  covered  in  the  brocade  of  the  pe- 
riod. This  set  forms  part  of  the  furniture  of 
the  boudoir  in  the  suite  finished  in  rose  colour. 

There  are  three  other  bedrooms  on  this 
floor.  The  immense  room  shown  in  Figure 
10s  is  panelled  from  floor  to  ceiling  and  hung 
with  a collection 

of  rare  old  coloured  engravings.  It  is  interesting  to 
notice  the  difference  in  the  style  of  the  two  annoires 
(Figures  106  and  107)  as  regards  both  form  and  carving. 

That  made  in  Normandy  during  the  reign  of  Louis  XV. 
follows  faithfully  the  lines  set  by  the  fashions  of  Paris, 
while  the  one  from  Brittany  made  at  the  same  time  pre- 
serves the  rustic  tiuaintness  of  earlier  designs.  The 
sturdy  Breton  has  reniained  conservative  and  has  changed 
little  or  none  in  the  last  few  hundred  years.  The 

dien  or  praying-desk  (Figure  108)  is  another  provincial  FIG.  104>'. -TABOURET,  LOUIS  XV 


»15 


A CHIPPENDALE.  CABINET,  CHINESE  DESIGN 


1 1 6 tTbe  Talbot  3,  trailer  Collection 

piece  in  oak,  and,  besides  the  book-rest,  possesses  a small  cupboard  below  for 
holding  devotional  books. 

In  the  room  adjoining  the  one  of  which  we  have  been  speaking,  there  is  a stone 
mantel  (Figure  109)  of  the  Gothic  period.  It  may  seem  strange  to  find  so  exquisite 
a piece  of  medieval  chiselling  of  in  a bedroom,  but  the  mantel  in  question  was 
imported  for  the  Great  Hall  on  the  first  tloor,  and  when  the  simple  stone  facing  now 
there  was  found  more  appropriate  to  the  architecture  and  panelling,  this  was  rele- 
gated to  a place  in  an  upper  room.  The  four-poster  bed  (Figure  no)  of  the  Louis 
XIV.  period  is  massively  carved  and  has  a dome  in  marqueterie.  The  linen  press 
(Figure  111)  was  made  in  Normandy  late  in  the  eighteenth  century,  and,  like  all 
the  work  of  that  province,  follows  the  designs  which  were  at  that  time  being 
made  by  the  great  Riesener  in  Paris. 

We  have  now  touched  upon  the  more  noteworthy  features  of  the  first  and 
second  doors.  Of  the  third  story,  with  its  twelve  large  bedrooms,  we  shall  not  here 
take  occasion  to  speak,  though  it  should  be  said  in  passing  that  it,  as  well  as  the 
lower  doors,  contains  many  objects  well  worth  the  attention  of  the  lover  of  antique 
furniture. 

In  Talbot  House,  the  aim  has  been  to  create  an  ideal  country  home  where  every 
room  should  be  furnished  with  old  pieces,  each  as  interesting  in  its  way  as  the 
other.  All  have  been  collected  with  great  care  and  have  been  pronounced  by  the 
greatest  experts  in  this  country  to  be  genuine  products  of  the  periods  to  which 
they  are  assigned.  The  old  oak  country  furniture  of  the  provinces  in  France  seems 
to  particularly  suit  the  requirements  of  this  house  and  is  more  appropriate  in  it  than 
any  other  style  would  be.  There  is  no  discordant  note,  all  has  been  arranged  to 
create  an  atmosphere  with  the  association  of  by-gone  ages  that  is  at  once  a delight 
and  an  instruction  ; and  the  result  is  a combination  of  modern  comfort  and  old-time 
beauty  that  will  be  appreciated  by  every  one  who  possesses  that  exquisite  sixth 
sense,  the  sense  of  the  beautiful.  It  has  been  the  purpose  of  what  has  liere  been 
said  to  give  a brief  account  of  French  furniture  and  to  relate  it  to  the  historical  and 
social  changes  which  have  brought  about  its  gradual  evolution  from  grim  medi- 
eval severity  to  the  grace,  daintiness,  and  luxurious  elegance  of  the  pleasure-loving 
period  that  immediately  preceded  the  Revolution.  With  few  exceptions,  the  furni- 
ture and  carvings  of  which  we  have  spoken  are  French.  France  was  the  nation 
which,  from  the  beginning  of  the  Renaissance,  originated  the  forms  and  designs  of 
furniture  that  were  followed  by  all  Europe.  Such  an  account,  it  is  hoped,  may  prove 


FIG.  105— THE  PANELLED  GUESTS’  ROOM 


iiS 


F!Q.  106.  — CARVED  ARMOIRE  MADE  IN  NORMANDY  IN  THE  EIGHTEENTH  CENTURY 


FIG.  107.— CARVED  ARMOIRE  MADE  IN  BRITTANY  IN  THE  EIGHTEENTH  CENTURY 


iig 


A SIDE  CHAIR  OF  THE  LOUIS  XIV  PERIOD 


FIG.  108.— OLD  NORMANDY  PRIE-DIEU  OR  PRAYING-DESK 


120 


ARM-CHAIR  OF  THE  PERIOD  OF  LOUIS  XIII  BERGERE  OF  THE  REGENCE  PERIOD 


FIG.  109.— STONE  MANTEL  OF  THE  GOTHIC  PERIOD 


FIG.  110.-CARVED  FOUR-POSTER  BED  OF  THE  LOUIS  XIV  PERIOD 


t23 


FIG.  111.— NORMANDY  LINEN  PRESS  IN  CARVED  OAK,  EIGHTEENTH  CENTURY 


124 


^be  tTalbot  3.  ^a\>lor  Collection 


125 


acceptable  to  many,  who,  without  wishing  to  study  deeply  the  subjects  here 
considered,  still  desire  to  gain  some  general  information  with  reference  to  them. 
We  have  also  endeavoured  in  these  comments  to  give  a sketchy  account  of  Talbot 
House,  to  call  attention  to  the  unity  of  effect  it  and  its  collection  produce,  and  to 
indicate  the  way  in  which  its  various  elements  have  been  combined  into  a harmoni- 
ous whole. 


TALBOT  HOUSE.  VIEW  FROM  THE  GARDEN 


THE  PIAZZA 


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A WALK  IN  THE  VEGETABLE  GARDEN 


A WALK  IN  THE  GARDEN 


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f • 

ti,  ■ 


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A CORNER  OF  THE  GARDEN 


A SUMMER-HOUSE  IN  THE  GARDEN 


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IN  THE  FLOWER  GARDEN 


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GETTY  CENTER  LIBRARY 


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